亨利克・維尼奧夫斯基「浮士德幻想曲,作品二十」改編自歌劇選曲的小提琴作品之研究與詮釋

Abstract

聲樂作品和一般器樂作品最不同的地方在於，聲樂作品有歌詞，而此些歌詞通常為詩詞作品，詩詞即為語言，透過詩詞的表達，等於清楚地透過文字，如同講話溝通一般地表達情感。而如若這些歌曲是由歌劇作品中所挑選，其中所要表達的意涵，則不僅只為情感，亦有時空背景以及故事情節等細節。 每當聲樂家們演唱時，聲樂家們的音樂表達雖有語言輔助，但仍須得透過歌詞表達情感，而其他器樂呢？非聲樂的演奏家，在演奏的音樂中少了語言幫助，要如何單純就音樂本身，將所心中想的情感，表達呈現並傳遞出去呢？ 本文將整理和分析由歌劇選曲改編的小提琴作品，將其列表及其討論，並聚焦於維尼奧夫斯基的《浮士德幻想曲》，研究作曲家是怎麼將歌劇選曲，即原先有歌詞的作品改編為小提琴作品，是運用何種手法改編成小提琴獨有的音樂特殊色彩，並探討改編自歌劇選曲的小提琴作品之改編手法以及演奏技巧詮釋上，要如何保持原曲的情境與風格。The main difference between vocal works and instrumental works is the lyrics. In vocal works, the lyrics usually come from literature. Lyrics can directly express the emotions through words, and if the piece is part of an opera, the lyrics can also assist to present the story background. Moreover, when listening to vocal performances, even though there are already lyrics to help them express the emotions, performers still put a lot of effort into expressing musicality. But what about other instrument players? How do we fully express ourselves through our instruments without the help of spoken and written language? This thesis collates and analyzes “Faust Brillante, Op.20” a piece by composer Henryk Wieniawski. It analyzes both the choices Wieniawski made in the original opera and later in his adaptations of the same work for violin. The thesis is divided into five chapters, starting from definitions of different types of rearranged works and followed by analysis of the structure, rearranging techniques and the effects of the violin techniques. It concludes with suggestions for performance interpretation.