向巴赫致敬：李斯特《巴赫主題幻想曲與賦格》與《巴赫主題變奏曲：哭泣、怨訴、憂慮、膽怯》之詮釋與分析

Abstract

李斯特 (Franz Liszt, 1811-1886) 為浪漫樂派的代表作曲家之一，也是對鋼琴作品的開創與樂器本身的發展有著重要貢獻的作曲家。李斯特的創作裡，鋼琴作品佔了一大部分，大眾對其印象也多為炫技、艱澀，但李斯特的作品不僅僅是只有華麗的外表，也蘊藏著豐富的內涵與情感，有時包含文學、繪畫及宗教，有時用以致敬、或抒發個人情感。本論文挑選了李斯特的兩首晚期作品，《巴赫主題幻想曲與賦格》(Fantasie und Fuge über das Thema B–A–C–H, S. 529) 與《巴赫主題變奏曲：哭泣、怨訴、憂慮、膽怯》(Variationen über das Motiv … von Weinen, Klagen, Sorgen, Zagen, S. 180 )，同樣使用了巴赫 (Johann Sebastian Bach, 1685-1750) 的主題，卻帶有不同的內涵。前者以巴赫姓名主題以表對巴赫或巴洛克音樂的致敬，後者以巴赫清唱劇作品的數字低音作為主題，加入宗教的內涵，以傳遞晚期的低落的心聲。

本論文共分為五章，以緒論為始，敘述研究動機、目的以及方法；接續為概述巴赫於十九世紀的復興及巴赫動機選用的象徵意義；再進入到關於兩首樂曲的創作背景、樂曲分析以及詮釋與彈奏；最後則為結語。Franz Liszt (1811-1886) is one of the representative composers of the Romantic Music, and a composer who made important contributions to piano works and the development of the instrument itself. However, Liszt's works are not only virtuosic, but also rich in connotation and emotion, sometimes closely related to art and literature, painting and religion, and sometimes paying tribute to or expressing personal feelings.

Two of Liszt's later works, “Fantasie und Fuge über das Thema B-A-C-H (S. 529)” and “Variationen über das Motiv ... von Weinen, Klagen, Sorgen, Zagen, S. 180)", which also use themes by J. S. Bach (1685-1750), have a different connotation. The former uses Bach's name as a tribute to Bach or Baroque music, while the latter uses the numerical basses of Bach's oratorios as a theme, adding a religious connotation to convey a late, depressed voice.

The thesis is divided into five chapters, beginning with an introduction that describes the motivation, purpose, and methodology of the study; continuing with an overview of Bach's revival in the nineteenth century and the symbolic meaning of Bach's motives; moving on to the background of the composition, analysis of the music, and interpretation and performance of the two pieces; and concluding with a conclusion.