莫札特薩爾茲堡時期兩首多鋼琴協奏曲的比較性研究— F大調三鋼琴協奏曲（K. 242）；Eb大調雙鋼琴協奏曲（K. 365）

Abstract

在莫札特的所有鋼琴協奏曲作品中，幾乎都是獨奏鋼琴協奏曲，只有K.242和K.365是他僅有的兩首多鋼琴協奏曲，其中的K.242是莫札特唯一的一首三鋼琴協奏曲暨協奏交響曲，K.365也是其僅有的一首雙鋼琴協奏曲暨協奏交響曲，這兩首莫札特薩爾茲堡時期的作品魅力何在，與莫札特的獨奏鋼琴協奏曲有什麼異同之處，以及彼此間差異與相互關係為何，兩部作品在這些層面有相當多的討論空間，也是本文主要的論述重點。 本文共分緒論、六大章與結論。緒論是說明研究的動機、目的、範圍與方法；第一章是敘述古典時期協奏曲的發展與沿革；第二章是針對莫札特生平與創作的闡述，其中也會特別說明作曲家在每個時期不同的鋼琴協奏曲創作特點；第三至第五章則是兩首多鋼琴協奏曲的樂曲分析，也包含了莫札特於1776年所創作的兩首獨奏鋼琴協奏曲K.238與K.246第一與第三樂章之曲式分析；第六章是探討兩部作品第一至第三樂章的鋼琴技巧；結論則是總結莫札特兩首多鋼琴協奏曲各層面的研究成果。

Most of Mozart’s Piano Concertos are practically Solo-Piano Concertos except K.242 and K.365. These two pieces are the only Multi-Piano Concertos in all of his works. K.242 is the solely Three-Piano Concerto and Symphonie Concertante besides, K.365 is the one and only Two-Piano Concertos and Symphonie Concertante. These two pieces are composed from Mozart’s Salzburg period. What is the charm in both of them? What is difference between these two and other Mozart’s Concertos ? What is the correlation between these two ? There are plenty of discussions from above-mentioned aspects and they are critically the points which this thesis wants to talk about.

This thesis includes introduction, six chapters and conclusion. There are motivation, purpose, scope and method in the introduction. The first Chapter is about developments and evolutions of the Concertos in Classical period. The second Chapter describes Mozart’s life and his compositions, which we specifically indicate the features of Concertos in different periods. The third to fifth Chapter is the Musical Analysis of these two Multi-Piano Concertos and Analysis of Form of The first and the third movements of Solo-Piano Concertos K.238 and K.246 which are composed in 1776 are also included. The sixth Chapter is about the piano skills of these two pieces from the first to the third movement. The conclusion summarizes the research of these two Multi-Piano Concertos K.242 and K.365 from various aspects.