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》

Abstract

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.