伊撒意第三號、第六號無伴奏小提琴奏鳴曲之分析與詮釋

Abstract

身為偉大小提琴家與作曲家的伊撒意（Eugène Ysaÿe, 1858-1931），於1924年創作作品第二十七號的六首無伴奏小提琴奏鳴曲；此作品堪稱繼巴赫六首無伴奏小提琴奏鳴曲、帕格尼尼（Nicolò Paganini）二十四首隨想曲之後最重要的無伴奏小提琴作品，其風格與美學繼承了巴赫作品的精髓，技巧上則延續了帕格尼尼隨想曲的技術難度，並平衡了前代作曲家偏重音樂，或是偏重技巧的創作局面；且在寫作手法等方面融入嶄新的思維，呈現出有別於過往時代作品不同的變化性與高度的技術性；因此這部作品著實延續了小提琴無伴奏曲目的優良傳統，成為現代小提琴演奏的經典必備曲目。

本文第一章以伊撒意之生平為開端，接續是六首無伴奏奏鳴曲的概論性介紹；第二章及第三章分別針對第三號與第六號奏鳴曲做曲式的分析和詮釋的探討，筆者在這兩章中以實地練習與操作之心得，向讀者分享個人對於音樂詮釋的理念及技術表現的觀點。 As a great violinist and composer, Eugène Ysaÿe composed his Six Sonatas for Solo Violin, Op.27 in 1924. The composition is regarded as the most important work for solo violin after Bach’s Six Sonatas and Partitas and Paganini’s 24 Caprices. The style and aesthetics of this composition inherit the essence of Bach’s works; its technique follows the high-level difficulty of Paganini’s Caprices. Reversing the situation that composers from the preceding generation overemphasized music or technique, it introduces fresh thoughts in different aspects, including composition, and displays variety and high degree of technique different from works in the past. Therefore, the composition indeed continues the sublime traditions of works for solo violin and has become a classic modern violin repertoire.

The first chapter begins with Ysaÿe’s background, followed by a brief introduction of six Sonatas for Solo Violin. Chapter two and three analyze the form of Sonata No. 3 and No. 6 respectively and discuss their interpretations. In these two chapters, with the experiences of practice, the author elaborates on his own perspectives on music interpretation and performance of technique.