探討斯特拉溫斯基《D調小提琴協奏曲》、《義大利組曲》和《嬉遊曲》

Abstract

伊果．斯特拉溫斯基（Igor Stravinsky, 1882-1971）的《D調小提琴協奏曲》創作於1931年，這首樂曲是斯氏第一次為小提琴創作協奏曲。斯特拉溫斯基本人並不會演奏小提琴，這使得他可以從完全不同的觀點來思考，以較不常出現的技巧、非小提琴正常的演奏方式（anti-violinistic）來創作。從《D調小提琴協奏曲》開始的十年間，斯特拉溫斯基與小提琴家杜希金（Samuel Dushkin, 1891-1976）密切合作，兩人從斯特拉溫斯基的芭蕾舞劇、歌劇、鋼琴作品中選曲，為小提琴與鋼琴改編了多首二重奏作品並且巡迴演出，為小提琴的聲響和演奏技法開創一個新的格局。這些二重奏曲目包含1932年改編自芭蕾舞劇《仙女之吻》（The Fairy’s Kiss, 1928）的《嬉遊曲》（Divertimento），以及1933年改編自芭蕾舞劇《普欽奈拉》（Pulcinella, 1920）的《義大利組曲》（Suite Italienne）。斯特拉溫斯基的新古典主義時期（neoclassic period）為1920-1951年，他的小提琴作品大多是這個時期的創作。在這三十年間，斯特拉溫斯基試圖以客觀、理性的態度創作，音樂風格冷靜、簡約。最重要的是，斯特拉溫斯基運用二十世紀的創作手法來重新詮釋十八世紀的作曲形式與作品，保留巴洛克時期的特色並且巧妙地加入新穎的音樂元素。本篇論文將簡述斯特拉溫斯基的生平、時代背景、音樂風格，以及小提琴作品，進而針對《D調小提琴協奏曲》、《義大利組曲》、《嬉遊曲》的創作背景做研究，並且深入了解這三部作品的樂曲結構和演奏詮釋。

Igor Stravinsky's (1882-1971) Violin Concerto in D was composed in 1931, which represents his first attempt at composing a concerto with the violin as solo instrument. Not being a violinist himself, Stravinsky came upon many unique ideas, generating musical figures independently of what is usually suggested by the physical configuration of the instrument and the familiar movements of the player's fingers and developed a kind of 'anti-violinistic' writing style. Stravinsky's close collaborationwith the violinist Samuel Dushkin (1891-1976) began with his Violin Concerto in D and continued for over a decade. Together, they transcribed a number of pieces from Stravinsky's ballets, operas, and piano works for violin and piano. In addition, the duo performed these transcriptions on tour together, introducing a new vista of sound and technique to a wide audience. This duo repertoire includes Divertimento (1932, transcription from ballet Le Baiseer de la fée) and Suite Italienne (1933, transcription from ballet Pulcinella). 1920-1951 marks the neoclassic period of Stravinsky's career, during which time most of his violin works were finished. In this thirty-year span, Stravinsky tried to compose in an objective and rational way, demonstrating a cool and simple style of writing. Stravinsky applied his own distinct 20th-century approach to the 18th-century composition form and works, preserving the features of baroque period and inserting novel musical elements masterfully.This study will reassess the biography, time, musical styles, and the violin works of Stravinsky. Furthermore, the musical background, analyses, and performance interpretations of Violin Concerto in D, Divertimento, and Suite Italienne will be discussed in detail.