流逝的時間美學？—從錄音量化分析探討蕭邦幻想波蘭舞曲的演奏速度

In Search of the Aesthetics of Time: Quantitative Tempo Analysis of 21 Recordings of Chopin's Polonaise-Fantaisie, op. 61

余亦湄(Yi-Mei Yu)

《關渡音樂學刊》 13期 (2010/12) Pp. 127-147

https://doi.org/10.29873/GMJ.201012.0007

摘要

蕭邦作品61為通譜（through-composed）的曲式，含多個速度上無法連貫的段落，演奏上難以兼顧音樂持續性與張力，現有研究中卻未提及。本文參照José Bowen, Eric Clarke, Nicholas Cook等人90年代起以電腦細微測量的方法，將21個1934-92年間的錄音中彈奏速度的演變，製成速度圖表（tempo map）。特以其中三個早期版本：Alfred Cortot, Arthur Rubinstein, Heinrich Neuhaus分別生於-1877, 87, 88年的鋼琴家70、63、61歲時的版本（1947-51）作出分析。其中Cortot與Neuhaus，除兩個幻想段落的極慢自由速度及曲末的高潮外，大致阿波羅式地維持著一個基本脈動。Rubinstein則酒神式的各段分層，但對照他前後期同曲的錄音（1934年47歲與1964年77歲），分層的效果並不因年事愈高而靠攏阿波羅式。而Neuhaus在末段高潮竟衝到了21個版本中最快的♪=206，可見風格的堅持未必與年齡、體力有關。反觀戰後其他錄音，呈現仿效Rubinstein分層處理的趨勢：這種時間美學的標準化，是否讓人看不到更廣闊的風景和自由？

關鍵字

蕭邦 ； 幻想波蘭舞曲 ； 速度 ； 錄音量化分析

並列摘要

Chopin's Polonaise-Fantasie belongs to through-composed form. Most of its paragraphs are disjunctive to each other due to fermata signs and different movement. But how to build up sense of continuity and tension by arrange the performing speed, has not been discussed in recent researches. The article takes the method from José Bowen, Eric Clarke, Nicholas Cook's researches in 90s, using computer to measure, calculate and make tempo map. After collecting and processing 21 recordings of this piece which are played in 1934-92, I specify three former recording editions in1947-51 which belong to Alfred Cortot, Arthur Rubinstein, Heinrich Neuhaus, as they are 70, 63, 61 years old. Cortot and Neuhaus, except for two fantastic paragraphs and the last climax, most of their playing maintains a fundamental pulse just like Apollonian style. Rubinstein's recording is Dionysian style, every paragraphs has its own layer. After comparing his former and later recordings of this piece (1934/34 years old, and 1964/ 77 years old), the effect of stratification is not been decreased due to aging. Neuhaus's playing speed at the climax rush to the fastest ♪=206 within the rest 21 editions. Thus the styles are determined by pianists' insistence, not completely by their age and energy. The rest of the recordings, which are recorded after the Second World War, continue the tendency of stratification as Rubinstein use. Will this kind of aesthetical standardization makes people lost their freedom and cannot see the broader scene?

並列關鍵字

Chopin ； Polonaise-Fantaisie ； op. 61 ； Tempo ； Quantitative Tempo Analysis

參考文獻

Ardoin, John.、申元譯(1997)。福特萬格勒的指揮藝術。台北市:世界文物。

Bowen, José Antonio.(1996).Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance.Journal of musicological research.16(2),111-156.

Clarke, Eric.F.(ed.),Nicholas, Cook.(ed.)(2004).Empirical Musicology: Aims, Methods, Phrospects.Oxford:Oxford University Pres.

Nicholas, Cook(2007).Performance Analysis and Chopin's Mazurkas.Musicæ scientiœ: The Journal of the European Society for the Cognitive Sciences of Music.11,183-207.

Nicholas, Cook.(2009).Squaring the Circle: Phrase Arching in Recordings of Chopin's Mazurkas.Musica humana.1,5-28.