李斯特《詩與宗教的和諧，作品173》之選曲分析與詮釋報告：以〈祈禱〉、〈聖母頌〉、〈喚醒孩童之歌〉、〈求主垂憐〉與〈愛的讚美詩〉為例

Abstract

李斯特 (Franz Liszt, 1811-1886) 不僅是一名浪漫樂派演奏技巧精湛的鋼琴家 (Virtuoso Pianist)，也是指揮家、作曲家、教育家與作家，在音樂史上有卓越非凡的貢獻。除了舉行大師班，也在祖國匈牙利創建音樂學院。他擅長寫作性格小品 (Character Pieces)，使用顛覆傳統古典奏鳴曲式 (Sonata Form) 的框架，他不受限且獨特的作曲手法在當時帶領出一股新式音樂風格。李斯特首創獨奏音樂會 (Recital) 的形式，也開啟了背譜表演的模式，更創立了交響詩 (Symphonic Poem) 的曲種。他創作約七百多餘首的作品，無論是鋼琴、交響曲 (Symphony)、交響詩、協奏曲 (Concerto)、神劇 (Oratorio)、清唱劇 (Cantata) 或改編曲 (Transcription) 等作品，都具有豐富多元的音樂內容。李斯特一生四海為家、遊歷各地，結識許多音樂家，受多位音樂家的作曲手法、風格與演奏技巧影響。在遊歷與巡迴演出的過程中，他吸收來自各地的藝術文化，受繪畫、雕刻、文學、宗教與大自然等藝術的薰陶與啟發，開始將其所見、所聞學以致用，大量文學或宗教題材的內容深刻地反映與融合在他的創作中。李斯特不僅融會貫通其他藝術領域的元素，也保留祖國匈牙利民族音樂的特性，這種民族意識一輩子都活在他的心中，創作上也可見他對民俗風格貫徹始終熱切殷勤的意念。《詩與宗教的和諧，作品173》(Harmonies Poétiques et Religieuses, S. 173) 的鋼琴連篇作品便是李斯特在早年與中期階段，受法國詩人的詩集與著作影響，體現文學、宗教與民俗音樂的重要作品。本論文以《詩與宗教的和諧，作品173》五首選曲：第一首〈祈禱〉(Invocation)、〈聖母頌〉(Ave Maria)、〈喚醒孩童之歌〉(Hymne de l'enfant à son réveil)、〈求主垂憐〉(Miserere, d'après Palestrina) 與〈愛的讚美詩〉(Cantique D'amour) 為主要研究目標。透過分析與歸納整理出李斯特的創作技巧與音樂風格，藉由其詩詞與經文的引用與對作曲家的經驗談之認識，抽絲剝繭地探究此作品與文學、宗教與世俗題材之關聯性，並透過思考與個人理解，提供演奏詮釋上一個假想的故事空間。Liszt was not only a virtuoso pianist with superb performance skills in the Romantic Era, but also a conductor, a composer, an educator and a writer. He had made outstanding and extraordinary contributions in the history of music. In addition to holding master classes, he also founded a music academy in his homeland Hungary. He was skillful in writing character pieces, and established the framework of the conventional classical Sonata Form. His unrestricted and unique composition methods led a new style of music at that time. Furthermore, he invented the form of performing, called “Recital”, and he was the first one to play from memory on recitals, and created the genre of “Symphonic Poem”. Liszt composed over 700 works in his lifetime, from piano works, symphonies, symphonic poems, concerti, oratorios, cantatas to transcriptions, and all of them possessed rich and diverse musical contents.Liszt was a cosmopolitan traveler. He traveled all over the world during his lifetime. He met many musicians while traveling and was influenced by their composition styles and performance skills. In the process of traveling and touring, he absorbed arts and cultures from all over the world, and was influenced and inspired from painting, sculpture, literature, religion and nature, and began to apply into his works. The contents of religious themes reflected and integrated deeply in his creations. Liszt not only integrated elements from other domains, but also retained the characteristics of the folk music of his motherland Hungary. This national consciousness had lived in his heart all his life, and his enthusiasm and dedications to the folk style could also be seen in his creations.The piano cycles of The Harmony of Poetry and Religion, Op. 173 by Liszt, was composed during his early and middle periods. This piano cycles were influenced much by French poets were important works which embodied literature, religion and folk music. This written report adopted five selected works: No. 1 ‘Invocation,’ No. 2 ‘Ave Maria,’ No. 6 ‘Hymne de l'enfant à son,’ No. 8 ‘Miserere, d'après Palestrina’ and No. 10 ‘Cantique D'amour’ from Harmonies Poétiques et Religieuses, Op. 173 as the main research objects. Liszt's creative skills and musical styles were found systematically through analysis and induction. Besides, the adoptions of the poems and texts alongside with the understandings of the composer's experiences also helped to explore the relevance of literature, religion and secular themes from his works. At the same time, based on personal perceptions and thoughts, this written report provides the ways to performing and interpreting an imaginative stories.