許常惠鋼琴獨奏曲《五首插曲》之復古傾向與浪漫風格

本文主要探討臺灣作曲家、民族音樂學家許常惠(1929-2001)的音樂創作，試就其鋼琴獨奏曲《五首插曲》0P.30探究分析，作品中《相思情》是對遠方戀人的思慕、《搖籃曲》獻給景仰賴孫德芳老師、《葬禮的行列》對臺灣貢獻良多的文化人楊肇嘉先生最後的送行、《情長紙短》、《尋找》對友誼的慰藉與懷念…。鋼琴獨奏曲《五首插曲》不同於他許多作品中民族樂派的風格，是先生內在的情成對「浪漫派音調」的徘徊，也是許常惠先生身為一位作曲家，遊走於民族樂派與浪漫樂派之問的心路歷程。在分析這部作品的同時，我們並指出了五首插曲在音樂構思、曲式佈局與素材使用間相互的關連。希望藉由分析工作進行，能更貼進作曲者的原意，尋找其創作理念、訓練的軌跡、從對《五首插曲》音樂的探索中研究其作曲之路，進而引發對文化情懷復古的傾向與浪漫風格的想像。

關鍵字

許常惠；鋼琴獨奏曲五首插曲；相思情；搖籃曲；孫德芳；葬禮的行列；楊肇嘉；情長紙短；尋找

並列摘要

This essay attempts to interpret and analyze Hsu Tsang-Houei's 《Cinq Episodes pour Piano》. 《Romance》 expresses a lover's thoughts of love for someone far away, 《Berceuse》is dedicated to his teacher, Sun Der-Fang; 《Marche Funebre) is a homage to Mr. Yang Chao-Chia, an intellectual who has made great contributions to Taiwan, 《Affection》and 《Recherche》 are about friendship-its consolation and memories. Different from the nationalistic style found in many of Hsu's work, the piano pieces in 《Cinq Episodes pour Piano》 can be seen as expressing another side, which is romantic, of Hsu's mind. Hsu, the composer, seems to swing between nationalism and romanticism and his music is a record of his exploration of both styles. As we analyze this musical work, we also point out how such elements as planning formal arrangements and material are related to each other. It is hoped that our analysis may bring us as close as possible to the original Intentions of the composer, and give us an idea of his theories and training. It is further hoped that the present study of 《Cinq Episodes pour Piano》may inspire imaginative interest in cultural nostalgia and romanticism.