二十世紀後半三首中提琴經典獨奏作品演奏技巧研究

Abstract

中提琴在西方音樂史上直至十九世紀以後才成為獨當一面的獨奏樂器，到了二十世紀經過樂器改良以及許多傑出中提琴演奏家出現，使得更多作曲家為中提琴創作樂曲，中提琴作品數量因而遽增，演奏技巧也隨之發展至極致，因此對於中提琴演奏者而言，研究新作品的演奏技巧成為重要課題。本論文藉由二十世紀後半葉三首經典獨奏作品，分別為貝里歐（Luciano Berio, 1925-2003）的《模進六》（Sequenza Ⅵ for Viola Solo, 1967）、潘德瑞茲基（Krzysztof Penderecki, 1933-）的《為獨奏中提琴的裝飾奏》（Cadenza per Viola Sola, 1984）以及李蓋悌（György Ligeti, 1923-2006）的《中提琴奏鳴曲》（Sonate for Viola Solo, 1991-1994），探討20世紀後半中提琴演奏技巧箇中奧妙，並藉由蓋詩•諾克斯（Garth Knox, 1956-）《中提琴空間》（Viola Space, 2009）和麥可•金伯（Michael Kimber, 1945-）《二十世紀音樂語法》（Twentieth-Century Idioms for Violists, 2012）兩本現代技法練習曲教本剖析，探討二十世紀音樂演奏技術的練習方法與應用方式。In Western classical music, the viola only began developing into a solo instrument in the 19th century. In the 20th century, with modifications on the instrument and the emergence of a great number of brilliant violists, an increasing number of composers were writing for the viola. The number of works for the viola increased rapidly, and the development of its performance techniques reached extreme heights. It is therefore important to a violist to study and analyze the performance techniques in new works. This paper seeks to examine the distinctive aspects of the performance techniques for the viola in the latter half of the 20th century, by focusing on three standard solo pieces from the period: Luciano Berio’s (1925-2003) Sequenza VI for Viola Solo (1967), Krzysztof Penderecki’s (1933-) Cadenza per Viola Sola (1984) and György Ligeti’s (1923-2006) Sonate for Viola Solo (1991-1994). The paper will also refer to two sets of études analyzing modern performance techniques: Garth Knox’s (1956-) Viola Space (2009) and Michael Kimber’s (1945) Twentieth-Century Idioms for Violists (2012), in examining the practice methods and application of 20th-century performance techniques.