舒曼的《a小調鋼琴協奏曲》：交響協奏曲的典範

Abstract

在談論十九世紀前半協奏曲的發展時，炫技協奏曲和交響協奏曲為時常討論的議題。舒曼(Robert Schumann, 1810-1856)在一生當中，總共8次嘗試創作給鋼琴和樂團的作品，但唯一一首完成且多樂章的作品，為1845年完成的《a小調鋼琴協奏曲》(Piano Concerto in a minor, op.54, 1845)。 本論文針對交響協奏曲的特色，對序奏、動機運用、主題配器以及獨奏與樂團之間的聲響進行分析，可以看到舒曼對協奏曲的想法在《a小調鋼琴協奏曲》當中體現。透過三樂章的動機，以及二三樂章的過門片段，舒曼將《a小調鋼琴協奏曲》三個樂章連結成一個整體。樂團與獨奏之間有時相互對抗，有時交融出整體的聲響，都是讓後來的人，將此曲視為浪漫時期鋼琴協奏曲的經典。While discussing the Concerto development in the first half of the nineteen century, we often mention about the issues of virtuoso concerto and symphonic concerto. Robert Schumann (1811-1856) in his whole life, had tried to compose works for Piano and Orchestra for 8 times, however, the Piano Concerto in a minor (1845), was his only work possessing multi movements and fully completed piece. Thus, the study analyze the Overture, motive material, theme orchestration and sound of solo and Orchestra, explore how Schumann incarnate his thinking in the Piano Concerto in a minor. The thematic relation of the three movements and transition from the 2nd to the 3rd movement, he perfectly linked three movements together. The sound between the Orchestra and piano solo, sometimes confront, while sometimes completely set, which had made this work to be regarded as one of the quintessential pieces of Romantic piano concertos.