莫札特《懺悔者大衛》之分析與詮釋

Abstract

沃夫岡.阿瑪迪斯.莫札特（以下簡稱莫札特）(Wolfgang Amadeus Mozart,1756-1791)，莫札特在父親全心全意地栽培之下，自幼即展現過人的音樂天分與演奏能力。其作品種類眾多且風格多變，最終成為維也納古典樂派最具代表性的作曲家之一。《懺悔者大衛》(Devide Penitente, KV469) 受「維也納音樂藝術家會社」(Viennese Tonkünstler- Sozietät) 委託創作，莫札特移植自己於一八七二年未完成的宗教作品《Ｃ小調彌撒》(Mass in c minor, KV427) ，除第六樂章及第八樂章為新作外，其餘樂章皆複製自《Ｃ小調彌撒》，並將歌詞由原先的拉丁文改成義大利文，於一七八三年三月十三日和十五日舉行首演，由莫札特親自指揮。其編制包含人聲及樂團，人聲的編制為：女高音獨唱兩位、男高音獨唱一位、雙混聲合唱團；樂團的編制有：長笛一把、雙簧管兩把、單簧管一把、低音管兩把、圓號兩把、小號兩把、長號三把、定音鼓、小提琴兩部、中提琴兩部、大提琴，及低音提琴。本論文共有五個章節，第一章「緒論」分三節，分述研究者之研究動機、研究範圍與內容，及研究方法與文獻；第二章「《懺悔者大衛》背景探究」分三節，第一節莫札特的生平、第二節札特的教會音樂，第三節《懺悔者大衛》創作背景及歷程；第三章「《懺悔者大衛》創作手法分析」共十節，將十個樂章依序以歌詞、曲式結構、動機旋律與音域、調性與和聲、速度及拍號，織度配器與力度六個面向做探討；第四章「《懺悔者大衛》詮釋建議」分為歌詞咬字、音準 與旋律、速度與節奏、力度、音樂表現，指揮技巧六個層面共十節討論各樂章之演奏、演唱及詮釋方法；第五章為「結論」；文末附上參考書目及附錄。Wolfgang Amadeus Mozart (1756-1791), under the wholehearted cultivation of his father, Mozart showed extraordinary musical talent since childhood and instruments-playing ability. His works are numerous and varied in genre, and eventually became one the best known and admired composer at Classical period.“Devide Penitente, KV469” was commissioned by the Vienna Society of Musical Artists (Viennese Tonkünstler- Sozietät), and transplantated for Mozart’s unfinished religious work “Mass in c minor, KV427’ in 1872, except for the sixth movement and the eighth movement. Except for the new movements, the others of the movements are all copied from"Mass in C Minor", and the lyrics were changed from Latin to Italian. The premiere was held on March 13th and 15th, 1783, conducted by Mozart himself. Its arrangment includes soloists, chorus, and an orchestra. The vocals are: two soprano soloists, one tenor soloist, and a double-mixed choir; the orchestra includes: one flute, two oboes, one clarinet, and two bassoons, two horns, two trumpets, three trombones, timpani, two parts of violins and violas, cellos, and double basses. There are five chapters in this thesis. The first chapter"Introduction" is divided into three sections, which describe the researcher's research motivation, research scope and content, as well as research methods and literature; the second chapter "Background Investigation of “Devide Penitente" is divided into three sections , the first section is Mozart’s life, the second section is Mozart’s church music, the third section is the compositional background of "Devide Penitente”; the third chapter "Analysis of "Devide Penitente" has ten sections in total, the ten movements are discussed in order from the six aspects of lyrics, musical structure, motive, melody and range, tonality and harmony, tempo and rhythm, texture, orchestration and dynamics; the fourth chapter"Devide Penitente” it’s give some musical interpretation and choral rehearsal advices about lyrics articulation, intonation and melody, temp and rhythm, dynamics, musical performance, and special interpretations. The fifth chapter is "Conclusion"; at the end of the article Attached are the bibliography and appendices.