海頓《C 大調第六十號鋼琴奏鳴曲， Hob. XVI:50》與《降 E 大調第六十二號鋼琴奏鳴曲Hob. XVI:52》音樂分析與詮釋

Abstract

約瑟夫·海頓（Joseph Haydn）透過他的鋼琴奏鳴曲為古典時期的鍵盤曲目做出了巨大貢獻。本文的目的是對他在倫敦寫的其中兩首奏鳴曲進行分析和詮釋：C 大調第 60 號鋼琴奏鳴曲 Hob. XVI：50 和降 E 大調第 62 號鋼琴奏鳴曲 Hob. XVI：52。本文首先介紹作曲家的背景，接著會聚焦在他的倫敦之行。第二部分，探討他奏鳴曲的一些特點，以及古鋼琴 C.P.E.巴赫對於海頓的影響。本文大部分內容及最後總結的部分將著重於倫敦奏鳴曲的分析和詮釋。首先將對奏鳴曲的歷史進行研究，然後對奏鳴曲的要素進行探討，主要是對當時樂器發辯方式，裝飾音，力度和強音，延長記號和休止符，踏瓣和演奏技巧等的研究。這些元素隨後都將會用於每一首奏鳴曲的結構分析和詮釋中。本論文的主旨在將傳統的和聲分析與主題分析相結合，探究影響此奏鳴曲創作的各種原因。

Joseph Haydn has contributed greatly to the keyboard repertoire of the classical period through his piano sonatas. The purpose of this thesis is to give an analysis and interpretation of two of these sonatas, which he had written in London: Piano Sonata No. 60 in C Major, Hob. XVI:50 and Piano Sonata No. 62 in E-flat major, Hob. XVI:52. A short background on the composer will first be given, focusing on his London trips. Afterward, the general characteristics of his sonatas will be discussed, along with the influences of the period instruments and of C.P.E Bach. The last section and the bulk of this thesis will be dedicated to the analysis and interpretation of the London sonatas. A study will first be made on the history of the sonatas, followed by a discussion on their elements, mainly their articulation, ornamentation, dynamics and accents, fermata and rests, pedaling, and virtuosity. These elements will then be used in the structural analysis and interpretation of each individual sonata. This thesis aims to combine a traditional harmonic and thematic analysis with an in-depth exploration of the different external factors that contributed to their composition.