貝多芬《C大調鋼琴奏鳴曲，作品二之三》與《F大調鋼琴奏鳴曲，作品十之二》之樂曲分析與詮釋

Abstract

路德維希．凡．貝多芬（L. v. Beethoven, 1770-1827）於維也納早期所創作之鋼琴奏鳴曲，逐漸展現出成熟的個人風格。而他日後不斷地在鋼琴奏鳴曲的形式與結構上探索與突破，更是將鋼琴奏鳴曲引領至古典時期的頂峰。《C大調鋼琴奏鳴曲，作品二之三》（Piano Sonata in C Major, Op. 2, No. 3）與《F大調鋼琴奏鳴曲，作品十之二》（Piano Sonata in F Major, Op. 10, No. 2）為貝多芬在維也納早期之作品。兩首作品運用豐富多變和聲、轉調手法以及突然變化的節奏，刻劃出生動的音樂意象。在織度方面，貝多芬常在樂章中融入複音對位的手法，創造出豐富的音響效果。筆者期盼透過此研究，對於貝多芬早年之創作風格與手法有更進一步的認識，進而對《作品二之三》與《作品十之二》的詮釋能力有更深的體會。本文於第一章之緒論提出研究動機與展演理念，並闡述筆者之研究範圍與方法；第二章探討十七至十九世紀初之鋼琴奏鳴曲發展概述與貝多芬之鋼琴奏鳴曲；第三章探究《作品二之三》與《作品十之二》的創作背景，而後將作品分為曲式、調性與和聲、織度與旋律以及節拍與節奏並進行樂曲分析；第四章討論兩首作品的演奏速度、力度、節奏、運音法與踏板五個面向，並作演奏詮釋想法之探討；最終於第五章統整研究總結。During his early stage in Vienna, the work of Ludwig van Beethoven (1770-1827) on piano sonata gradually revealed his mature, personal style. Afterwards Beethoven continued to explore and breakthrough the piano sonata form and its structure, bringing the piano sonata to its peak in the classic period.Piano Sonata in C Major, Op. 2, No. 3 and Piano Sonata in F Major, Op. 10, No. 2 are two of the earlier work of Beethoven. These two pieces utilizes a rich variety of harmony, modulation and sudden change on tempo to engrave the musical imagery. On texture's aspect, Beethoven often used counterpoints in his movements to create rich sound effect. In this report, our goal is to better understand the earlier style of Beethoven and to achieve deeper interpretation of the above two pieces. In Chapter 1, we begin by introducing the motivation, the concept of performance, the issues considered and the methodology of our report. In Chapter 2, we describe the development of piano sonatas from the 17th to early 19th century, including Beethoven's piano sonatas. Then, in Chapter 3, we explore the historical background of these two pieces and analyze them according to form, tonality, harmony, texture, meter and rhythm. In Chapter 4, our discussion follows the category consisting of tempo, dynamic, rhythm, articulation and pedal. In Chapter 5, a summary of this report is given.