論巴洛克音樂演奏風格與詮釋--以巴赫《六首無伴奏小提琴奏鳴曲與組曲》為例
Abstract
巴赫的這部《六首無伴奏小提琴奏鳴曲與組曲》作品，在小提琴曲目庫中擁有著無可比擬的崇高地位，是每一位專業小提琴學習者都必須學習和掌握的重要曲目。由於這部作品的創作年代距今已有300年，而當時所處的巴洛克時期，無論從樂器型制、演奏法，再到音樂審美、記譜讀譜習慣等方面，都與我們今天所熟悉的當代演奏法和音樂環境有著極大的差異。並且，由於巴洛克時期樂譜的譜面信息相對較為「乾淨簡潔」，作為當代學習者，若沒有充分了解巴洛克時期音樂的背景與風格特點，很容易對這部作品的理解和演奏產生「誤讀」。本文基於樂曲創作年代的音樂社會環境，分別從18世紀初巴洛克時期的音樂背景及小提琴演奏法兩方面，綜合歸納分析巴洛克時期的小提琴演奏風格與方法。隨後以此為方向，具體分析闡述如何將巴洛克風格運用於巴赫的《六首無伴奏小提琴奏鳴曲與組曲》演奏之中，深入研究探討這部作品的音樂內涵。
Bach’s Three Sonatas and Three Partitas for Solo Violin holds an unparalleled lofty position in the violin repertoire, and is an important piece that every professional violin player must learn and master. Since this work was composed 300 years ago, the Baroque period at that time, in terms of instrumentation, performance practice, musical aesthetics, and notation and reading habits, was greatly different from the contemporary performance methods and musical environment that we are familiar with today. Moreover, because the score information of the Baroque period score is relatively “clean and concise”, contemporary players who do not fully understand the background and stylistic characteristics of the music of the Baroque period can easily “misread” the interpretation and performance of this work.Based on the musical social environment in the time of composition, this paper presents a comprehensive analysis of the violin performance style and practice in the Baroque period from the musical background and the violin performance practice of the Baroque period in the early 18th century. Then, in this direction, this paper specifically analyzes and expounds how to apply the Baroque style to the performance of Bach’s Three Sonatas and Three Partitas for Solo Violin, and deeply studies and explores the musical connotation of this work.
Bach’s Three Sonatas and Three Partitas for Solo Violin holds an unparalleled lofty position in the violin repertoire, and is an important piece that every professional violin player must learn and master. Since this work was composed 300 years ago, the Baroque period at that time, in terms of instrumentation, performance practice, musical aesthetics, and notation and reading habits, was greatly different from the contemporary performance methods and musical environment that we are familiar with today. Moreover, because the score information of the Baroque period score is relatively “clean and concise”, contemporary players who do not fully understand the background and stylistic characteristics of the music of the Baroque period can easily “misread” the interpretation and performance of this work.Based on the musical social environment in the time of composition, this paper presents a comprehensive analysis of the violin performance style and practice in the Baroque period from the musical background and the violin performance practice of the Baroque period in the early 18th century. Then, in this direction, this paper specifically analyzes and expounds how to apply the Baroque style to the performance of Bach’s Three Sonatas and Three Partitas for Solo Violin, and deeply studies and explores the musical connotation of this work.
Description
Keywords
十八世紀初巴洛克演奏風格, 小提琴, 巴赫, 無伴奏, 六首奏鳴曲與組曲, Baroque style, Early 18th century, Violin, Bach, Solo, Three Sonatas and Three Partitas for Solo Violin