蕭邦、布拉姆斯與巴拉基雷夫鋼琴詼諧曲之詮釋報告
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2013
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詼諧曲在鍵盤音樂中最早的作品是出現在巴赫的第三號a小調組曲之第六樂章；接著，古典時期貝多芬將詼諧曲運用在奏鳴曲中，進而將詼諧曲取代了小步舞曲的地位，而詼諧曲也成為曲風輕巧的快速樂章；直到浪漫時期經由蕭邦的創作，詼諧曲終以嶄新、獨立的樂種進入高峰，成為詼諧曲發展的重要里程碑；隨後，布拉姆斯與巴拉基雷夫兩位作曲家亦藉由蕭邦的創作理念，將詼諧曲加以發展，使詼諧曲之多變性拓展開來。
本文探討上述三位作曲家的鋼琴詼諧曲，以蕭邦第二號鋼琴詼諧曲作品三十一為出發點，進而探究布拉姆斯鋼琴詼諧曲作品四以及巴拉基雷夫第一號鋼琴詼諧曲作品八十四，就其風格特色與樂曲型式等進行深入研究。
本文共分為六章，第一章說明研究動機、研究方法及詼諧曲的發展，第二至四章分別說明三位作曲家的生平背景、作品風格，並探討三首詼諧曲的創作背景、樂曲分析及演奏詮釋，第五章則是藉由前四章的研究與分析，將三首詼諧曲的特色進行比較；第六章為結論。
Abstract The first keyboard scherzo appeared in the sixth movement of Bach Partita No. 3 in a minor. Subsequently, Beethoven incorporated the scherzo in the classical period, which later replaced the minuet, into sonatas. Scherzo thus became a fast-moving composition. In the romantic period, Chopin’s creation allowed the scherzo to reach its peak as an innovative and independent genre of music, which marked the significant development of the scherzo. Brahms and Balakirev followed Chopin’s idea for increasing the diversity of scherzos. This paper explores piano scherzos of three composers: Chopin, Brahms and Balakirev. The researcher first discusses the style and musical form of the Chopin Scherzo No. 2 in B flat minor, Op. 31, followed by that of the Brahms Scherzo in E flat minor, opus 4 and the Balakirev Scherzo No. 1, opus 84. This paper comprises six chapters. The first chapter explains the researcher’s motivation, research method, and the development of the scherzo. The biography and musical style of the three composers as well as the background, and an analysis of the compositions, and interpretation of these three scherzos are illustrated in chapter 2 to 4. Chapter 5 provides a comparison of the characteristics of the three scherzos based on the research findings in the previous four Chapters. Finally, the conclusion is drawn in the sixth Chapter 6.
Abstract The first keyboard scherzo appeared in the sixth movement of Bach Partita No. 3 in a minor. Subsequently, Beethoven incorporated the scherzo in the classical period, which later replaced the minuet, into sonatas. Scherzo thus became a fast-moving composition. In the romantic period, Chopin’s creation allowed the scherzo to reach its peak as an innovative and independent genre of music, which marked the significant development of the scherzo. Brahms and Balakirev followed Chopin’s idea for increasing the diversity of scherzos. This paper explores piano scherzos of three composers: Chopin, Brahms and Balakirev. The researcher first discusses the style and musical form of the Chopin Scherzo No. 2 in B flat minor, Op. 31, followed by that of the Brahms Scherzo in E flat minor, opus 4 and the Balakirev Scherzo No. 1, opus 84. This paper comprises six chapters. The first chapter explains the researcher’s motivation, research method, and the development of the scherzo. The biography and musical style of the three composers as well as the background, and an analysis of the compositions, and interpretation of these three scherzos are illustrated in chapter 2 to 4. Chapter 5 provides a comparison of the characteristics of the three scherzos based on the research findings in the previous four Chapters. Finally, the conclusion is drawn in the sixth Chapter 6.
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蕭邦, 布拉姆斯, 巴拉基雷夫, 鋼琴詼諧曲, Chopin, Bramhs, Balakirev, Piano scherzo