貝多芬五首大提琴奏鳴曲
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2021
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從巴洛克數 低音時代演進到古典時期,大提琴逐漸從支撐低音的樂器轉變為獨奏樂器,大提琴奏鳴曲在貝多芬(Ludwig van Beethoven, 1770-1827) 筆下奠定 重要的意義,貝多芬使大提琴在這樣的室內樂形式中有更多發揮的空間,無論在 演奏音域、技巧、角色平衡上都有著與過往的作曲家顯著不同之處,也成為大提 琴奏鳴曲受到後世作曲家重視的重要里程碑。
本文以貝多芬五首大提琴奏鳴曲之內容為主軸,以宏觀的角度從貝多芬時代大提琴的發展與演進、貝多芬對大提琴演奏的影響與推展,探討大提琴在貝多芬手中技巧與地位的改變;並透過古典時期奏鳴曲的發展歷史,了解貝多芬大提琴奏鳴曲的樂曲形式內容與意涵;而五首大提琴奏鳴曲分屬貝多芬生平的第一、二與第三風格時期,經由音樂作品內容的探索,從而瞭解在大提琴奏鳴曲中,貝多芬各時期創作風格的體現。最重要的部分,以演奏者的角度討論樂曲的架構及內容,提出演奏詮釋上個人的觀點,並在樂譜版本比較中,對「手稿」、「初版樂譜」之細節有更多的了解與探討。期望能將本文各面向的探就作為演奏詮釋上的基石,理論與實作間彼此相長,交相輝映。
The phase between the Baroque and the rise of the classical, with its broad mixture of competing ideas and attempts to unify the different demands of taste, violoncello had gradually transformed from basso continuo into solo instrument. Among them, five Sonatas for Piano and Violoncello of Ludwig van Beethoven (1770- 1827) plays a significant role in the history of chamber music with its unique composing styles in tonal range, techniques, and the balance in-between the lead and accompaniment. His repertoires are the ideal companion to all posterity desiring a comprehensive understanding of the revolution of violoncello. This dissertation is based on exploring Beethoven’s five revolutionary cello sonatas from a holistic approach in the development of techniques; the status change of violoncello in music history; the influence and its forward movements in the history of performance. Furthermore, to gain understanding of the musical form and meaning throughout the development of classical sonatas in the history of music. These five sonatas are classified in three periods of Beethoven’s style of composition, and in exploring details of these composition, we are able to learn the embodiments of Beethoven’s creative style in composing through each periods. Most important of all, this dissertation is aim at discussing the structure and contents of these sonatas from my personal perspective in performance interpretation as a professional cellist; and in comparison with details from different scores, its original manuscript and first edition to provide a solid understanding in theories and practice in performance interpretation.
The phase between the Baroque and the rise of the classical, with its broad mixture of competing ideas and attempts to unify the different demands of taste, violoncello had gradually transformed from basso continuo into solo instrument. Among them, five Sonatas for Piano and Violoncello of Ludwig van Beethoven (1770- 1827) plays a significant role in the history of chamber music with its unique composing styles in tonal range, techniques, and the balance in-between the lead and accompaniment. His repertoires are the ideal companion to all posterity desiring a comprehensive understanding of the revolution of violoncello. This dissertation is based on exploring Beethoven’s five revolutionary cello sonatas from a holistic approach in the development of techniques; the status change of violoncello in music history; the influence and its forward movements in the history of performance. Furthermore, to gain understanding of the musical form and meaning throughout the development of classical sonatas in the history of music. These five sonatas are classified in three periods of Beethoven’s style of composition, and in exploring details of these composition, we are able to learn the embodiments of Beethoven’s creative style in composing through each periods. Most important of all, this dissertation is aim at discussing the structure and contents of these sonatas from my personal perspective in performance interpretation as a professional cellist; and in comparison with details from different scores, its original manuscript and first edition to provide a solid understanding in theories and practice in performance interpretation.
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貝多芬, 大提琴奏鳴曲, 大提琴, 演奏詮釋, Sonata for Piano and Violoncello