海頓兩首大提琴協奏曲的比較性研究

Abstract

海頓(Franz Joseph Haydn, 1732-1809)的創作生涯中，交響曲、鋼琴奏鳴曲與弦樂四重奏是其創作的重心，從海頓早期作品中仍然可見的巴洛克風格遺留 到晚期個人風格的發展與成熟，在其作品中可清晰看出海頓一生創作的風格脈絡。 大提琴協奏曲雖然在海頓的眾多作品中寥寥無幾，但是唯一留存的《C大調大提琴協奏曲》和《D大調大提琴協奏曲》是大提琴曲庫中的經典之作。兩首作品創作時間相隔近20年，從技法與風格上可以看出海頓在不同時期創作特色的轉變。 本論文通過對十八世紀社會背景以及音樂風格的探析逐步對海頓的生平以及各時期創作風格展開研究，並從曲式結構、演奏技法以及大提琴與管弦樂互動幾個方面對海頓《C大調大提琴協奏曲》和《D大調大提琴協奏曲》兩首協奏曲 進行比較性研究與分析。In Franz Joseph Haydn's (1732－1809) creative career, symphony、piano sonata and string quartet are the center of gravity of his creation, from Haydn's early works with still visible baroque style to the development and maturity of personal style. In his late works, one can see Haydn's evolution style through his creation. Although the cello concerto is few in Haydn's works, the only remaining Cello Concerto No.1 in C Major (Hob. Vll :1) and Cello Concerto No.2 in D Major (Hob. Vll :2) are classics in the cello repertoire. The creation date of the two works is nearly 20 years apart, and the change of Haydn's creative characteristics in different periods could be noted through the technique and style. Through the analysis of the social background and musical style in the eighteenth century, this paper gradually studies Haydn's life and the writing style of various periods, and studies and analyzes Haydn's Cello Concerto No.1 in C Major (Hob. Vll :1) and Cello Concerto No.2 in D Major (Hob. Vll :2) from the aspects of musical structure, playing technique and cello interaction with orchestral music.