莫札特低音管協奏曲K.191 分析與詮釋

以沃夫岡．阿瑪迪斯．莫札特(Wolfgang Amadeus Mozart, 1756-1791)於1774 年所完成的《低音管協奏曲降B大調 K.191》(Concerto in B flat major for Bassoon and Orchestra KV.191)的樂曲分析與樂曲詮釋，為主要探討主題。《降B大調低音管協奏曲K.191》是莫札特寫給低音管唯一的一首協奏曲。也是一首不僅耳熟能詳且充分保留巴洛克曲風的作品。在作品中，可以聽出莫札特將低音的音域、聲線發揮得恰到好處。雖然當時低音管的按鍵系統發展尚未純熟，但時至今日，低音管在經過許多研究與改良後，已經克服了巴洛克時期以及古典時期所遇到的諸多問題。本文由協奏曲的巴洛克時期至古典時期的發展概述為講述莫札特生平概述、低音管協奏曲創作背景、樂曲分析與樂曲詮釋。分析採用的參考樂譜版本為Bärenreiter於1986年所出版的管弦樂版本與 2005年所出版的鋼琴伴奏版本。

關鍵字

莫札特；低音管；協奏曲

並列摘要

Mozart’s (Wolfgang Amadeus Mozart, 1756-1791) only bassoon concerto, K 191, completed in 1774, already anticipated the technical advances that would give birth to the modern bassoon. Even though K 191 remains saturated with the musical language of Baroque, it also took it to new frontiers of sound. This thesis examines Mozart’s K 191 in the context of both the development of concerto between Baroque and Classicism and the growth of Mozart’s musicianship, especially his conceptualization of the bass register. In addition, it gives an interpretation of this concerto within the framework of current music research and analysis. The purpose is to show, to the extent possible, Mozart at work as a composer, and composition as a process. Basing itself on the 1986 Barenreitre edition of the orchestral scores and the 2005 edition of the scores adapted for bassoon and piano, this thesis breaks down the three movements of the concerto into small parts in order to demonstrate how minute details accelerate into a whole concerto that embodies the spirit of Baroque and at the same time brings Classicism into full swing.