布拉姆斯鋼琴作品一一七與一一九詮釋報告

Abstract

布拉姆斯(Johannes Brahms, 1833-1897)於晚年寫作一系列鋼琴獨奏小品，在以〈間奏曲〉、〈隨想曲〉…等傳統曲種名稱做為標題之下，布拉姆斯於〈間奏曲〉溫雅內斂的風格及〈隨想曲〉激烈奔放的特色中，透過豐富而細膩的音樂語法展現其創新思維。綜觀晚期作品各小曲標題的運用，其中以〈間奏曲〉占最多數；作品一一七以三首〈間奏曲〉組成，作品一一九以三首〈間奏曲〉及一首〈狂想曲〉構成，布拉姆斯於這兩組作品在以〈間奏曲〉標題組成之下，於作品中展現了細膩而富於變化的音樂語法。 本詮釋報告以作品一一七與一一九為主軸，透過其晚年思維脈絡之介紹，進行布拉姆斯音樂語法之分析及彈奏法與詮釋探討。內容共分為五章，本詮釋報告從布拉姆斯的生平切入，於第一章陳述其音樂教育養成、創作歷程及音樂風格，第二章進一步探討晚期鋼琴作品，在分析晚期作品之架構與語法後，進入本詮釋報告重點－作品一一七與一一九之樂曲分析及彈奏法與詮釋。第三、四章中，將作品一一七與一一九之樂曲分析以曲式、節奏、旋律、和聲做為脈絡，透過深刻探究之後，以意境、速度及表情術語、聲響與力度及演奏技巧…等面向探討彈奏法與詮釋。In the later period of his life, Johannes Brahms (1833-1897) wrote a series of solo piano pieces such as “intermezzo,” which has an undertone of gentle; and “capriccio,” which has passionate characteristics. These two compositions are innovative through his unique musical expression. During the time when these were written, the majority of compositions were intermezzos. For instance, his piece, op. 117 is made up of three intermezzos; op. 119 is made up of three intermezzos and one rhapsody. Brahms composed these pieces with various colorful musical expressions. The purpose of this paper is to analyze compositional techniques, and discuss the interpretation of piano playing techniques in Brahms’ late period focusing on his op.117 and op.119. There are five chapters to discuss Brahms. The first chapter will discuss Brahms’ musical education, his compositions, and his musical style; the second chapter will discuss the piano pieces he composed during the late period of his life. This chapter will also provide an analysis of the texture and musical language, which Brahms used in his pieces op.117 and op.119. The third and fourth chapters will provide a reasoning of how the music is interpreted based on the analysis of the musical elements including form, rhythm, melody, and harmony. Furthermore, the means of this “interpretation” will be explained through several technical piano performance parameters.