天才的牌戲－透視莫札特鋼琴協奏曲K.271第一樂章雙呈示部奏鳴曲式

十八世紀的獨奏協奏曲，從回復曲式(ritornello form)逐漸發展為奏鳴曲式(sonata form)，莫札特不僅是促成此一發展的作曲家之一，更創造了雙呈示部的奏鳴曲形式。從社會學的觀點來看，由依附宮廷生存的工匠，轉向訴求新興的市民階層聽眾，作曲家必須作出適當的調整。雙呈示部奏鳴曲式的鋼琴協奏曲，映照出莫札特如何為精巧的工匠藝術尋找自由市場的出路。本文探討在鋼琴協奏曲K. 271的第一樂章中，莫札特如何逐次減少每次主題的動機，來解決雙呈示部可能產生的重覆問題；並且透視隱藏在這牌戲手法背後的，音樂形式與社會形態之間的關係。

關鍵字

莫札特；鋼琴協奏曲；雙呈示部；奏鳴曲式；音樂社會學

並列摘要

The evolution of solo concerto's first movement from ritornello to sonata form had become evident during the eighteenth century. Wolfgang Amadeus Mozart, credited for contribution on this evolution, advanced in giving sonata form a double exposition structure in his piano concertos. From sociological viewpoint, the adaptation of double exposition reveals the composer's endeavor to appeal to the rising citizens, as he intended to give up his reliance on court as a craftsman. Double exposition satisfied audiences of different interests, because both the soloist and orchestra were put on an equal basis; therefore, a tempted solution for Mozart in transferring his piano concerto from Norbert Elias called ”Handwerkerkunst” for nobilities to ”Künstlerkunst” for a broader public. The new device reflects the composer’s hope for promoting his exquisite craftsman art into the free market. As the first piano concerto of complete double exposition in the first movement, K. 271 deserves a closer look on how the composer deals with the materials at hand. Like playing a card game, he deducted motives in order to avoid the repetition which double exposition might have caused, a strategy that shows the composer’s wisdom as well as the interaction between musical forms and social figuration.