白遼士為「羅馬大獎」競試所創作的清唱劇之研究:《奧菲歐之死》、《海爾敏娜》、《克麗奧佩脫拉之死》與《薩丹拿帕勒之死》

Abstract

本論文探討研究白遼士為「羅馬大獎」競試所創作的四部清唱劇：《奧菲歐之死》、《海爾敏娜》、《克麗奧佩脫拉之死》與《薩丹拿帕勒之死》。審視十九世紀初期歐洲南北方之間的文化差異，我們可以看到北方浪漫主義對十九世紀巴黎藝術界所產生的影響，像是莎士比亞文學與戲劇在歐洲掀起的潮流，還有德國文學的浪漫精神傳入巴黎藝文圈的現象，我們進而觀察到當時法國藝術圈的改革派代表性人物，像是美術界有德拉克羅瓦，音樂界有白遼士，他們均創作過同名或者類似主題的作品。本論文希望藉由這些美術與音樂創作在主題來源上的選擇，來做為呼應整體巴黎藝文圈大時代風潮的應證，進而研究出羅馬大獎競試清唱劇在題材選擇上的特點。羅馬大獎乃官方的藝術競試，本質上相當保守。本論文主體的四部羅馬大獎清唱劇，都是白遼士在求學期間為參與羅馬大獎競試所創作的早期作品。在本論文中，特別針對這些清唱劇的戲劇、音樂語法，還有聲樂與樂團之間的配合，來進行分析比較。透過這些分析，我們會看到年輕的白遼士如何在相當保守的比賽體制下嘗試進行適度的創新，也因而顯露出他日後成熟作品中所展現出的特色。我們也藉著針對音樂結構的分析，找出白遼士四首清唱劇的獨特性與其時代意義。

This thesis explores the study of Hector Berlioz's four cantatas composed for the "Prix de Rome" competition: "La mort de Orphée, H. 25," "Herminie, H. 29," "La Mort de Cléopâtre, H. 36," and "La mort de Sardanapale, H. 50." By examining the cultural differences between the northern and southern regions of Europe during the 19th century, we can observe the impact of Northern Romanticism on the artistic circle in 19th-century Paris, such as the trend of Shakespeare's literature and drama in Europe, as well as the phenomenon of the romantic spirit of German literature being introduced into Paris’ art circle. Furthermore, if we investigate some of the representative figures of reformists in the French art circle at that time, taking Delacroix in the fine arts circle and Berlioz in the music circle as examples, we can find out that both had created works with the same name or similar themes. By studying these artistic and musical choices, this thesis aims to show how the selection of themes in those cantatas for the Prix de Rome reflects the overall trends of the artistic circle in 19th-century Paris. The Prix de Rome was an official competition and inherently conservative. The four cantatas discussed in this thesis were composed by Berlioz during his participation in the Prix de Rome, representing his early works. The analysis and comparison in this thesis focus on the drama, music, and the coordination between vocal and the orchestra parts in these cantatas. Through these analyses, we will see how the young Berlioz incorporated moderate innovations within the conservative competition system, showcasing the mature characteristics of his future works. characteristics of his future works. Furthermore, through the analysis of music and structure, the aim is to identify the uniqueness and temporal significance of Berlioz's four cantatas for the Prix de Rome.