舒曼《幻想曲集》作品十二分析與詮釋

Abstract

羅伯特．舒曼 (Robert Schumann, 1810-1856) 為 19 世紀浪漫樂派著名的作曲家及音樂評論家。心思細膩的舒曼，將內心世界創作成無數樂曲，其中鋼琴作品以性格小品(Character piece) 最具代表性。此外，自幼飽讀詩書的他有著豐富的文學涵養，喜愛將文學意念融入音樂中，獨特的音樂風格使他在浪漫樂派中佔有一席之地。文中所探討的《幻想曲集》作品 12 (Fantasiestücke, Op.12) 即是舒曼以德國文學家霍夫曼 (Ernst Theodor Wilhelm Hoffmann, 1776-1822) 的短篇小說《卡洛特風格的幻想故事曲集》(Fantasiestücke in Callots Mania) 作為命名八首小品標題的靈感，藉由描述性的標題體現出音樂的意境且成為詮釋上極為重要的線索。本文以舒曼之生平作為開端了解其生長背景及性格的養成，並探討兩位德國文學家尚．保羅 (Johann Paul Friedrich Richter, 1763-1825) 及霍夫曼對舒曼鋼琴創作的啟發及影響。接著簡述幻想曲曲式發展並研究此作品之背景。最後以客觀之角度分析樂曲的曲式結構、節奏與調性等元素並加入自身詮釋觀點展現此曲之音樂內涵。

Robert Schumann (1810-1856), one of the most famous Romantic musicians during the nineteenth century, composed countless music, one of which were his character pieces. His unique style, which includes merging literary ideas into his music, established his role as one of the forerunners of the Romantic period.An example of this is the relationship between E.T.A. Hoffman’s fiction,Fantasiestücke in Callots Mania, and Schumann’s work Fantasiestücke, Op.12. The interpretation and artistic conception of the music based on eight of Hoffmann’s topics will be presented in this thesis.This thesis is divided into several parts. The first part describes Robert Schumann's life and explores the inspiration and influences of the two German literati, Jean Paul Richter and E.T.A. Hoffmann towards his piano music. The second part briefly introduces the development of the Fantasia form and discusses the background of Fantasiestücke, Op.12. The last part objectively analyses elements, such as the structure, rhythm, key of the piece and personal interpretational ideas.