以複音音樂觀點分析巴赫《C小調第五號無伴奏大提琴組曲》

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2019-05-??

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國立臺灣師範大學音樂學院
College of Music, NTNU

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巴赫(Johann Sebastian Bach, 1685-1750)所作的《第五號無伴奏大提琴組曲》(BWV 1011)令人印象深刻的特點是:第五號是《六組無伴奏大提琴組曲》(Suiten für Violoncello solo, BWV 1007-1012)當中唯一使用「特殊調音法」(Scordatura)的組曲。然而,對於演奏家而言,此曲的難度不在於是否要將A 弦調低一個全音、或是改變定弦音高之後的指法問題,而是如何將大提琴單行樂譜所包含的複音音樂結構,完美地透過獨奏的方式呈現。由於作曲家的手稿早已佚失,因此巴赫根據《第五號無伴奏大提琴組曲》改寫給魯特琴的《G 小調組曲》(BWV 995)成為最能夠瞭解其複音音樂結構的資源。本論文將以巴赫的《G 小調組曲》手稿,以及由德國熊騎士出版社(Bärenreiter-Verlag)所出版,根據作曲家妻子安娜•瑪德蓮娜•巴赫(Anna Magdalena Bach, 1701-1760)手抄版本製作的《第五號無伴奏大提琴組曲》樂譜,作為音樂分析的兩個譜源,藉由比較大提琴與魯特琴版本之差別,思索如何處理隱藏在旋律之中的聲部進行。
The most impressive feature of J. S. Bach’s Cello Suite No. 5 in C Minor isthat the fifth suite is the only one among his six cello suites to have appliedscordatura. However, for most cellists, the difficulty of this suite is not to turnthe A string down to G nor the fingering after the change of the open string, butto present the perfect polyphonic structure through a single solo instrument.As Bach’s manuscript has been lost, the Suite in G Minor for Lute (BWV995), which was arranged after Suite No. 5 in C Minor, is the best sourceavailable to better understand the structure of his polyphony. In this paper, theauthor investigates Suite No. 5 in C Minor by juxtaposing Bach’s Suite in GMinor for Lute and Anna Magdalena Bach’s manuscript of Suite No. 5 in CMinor published by Bärenreiter-Verlag. A comparison between the cello and luteeditions unveils the voice-leading hidden within the melodic lines of the work.

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