音樂人像素描 浦朗克《15首鋼琴即興曲》之作品研究與演奏詮釋

Abstract

法蘭西斯‧浦朗克(Francis Jean Marcel Poulenc, 1899-1963) 為二十世紀法國最重要鋼琴家與作曲家之一，於法國六人組(Les six) 成員當中，與米堯、歐里克皆為較受到後人知曉的音樂家。浦朗克除了世人較為熟悉的鋼琴作品外，亦有室內樂、協奏曲、合唱曲、歌劇、芭蕾舞劇、宗教音樂…等創作，尤以聲樂作品為浦朗克最珍愛之創作樂種，此論文之研究，發現浦朗克將具有聲樂效果之優美旋律線條，於本組作品中發揮得淋漓盡致，其優美、愉悅的旋律亦成為浦朗克的音樂特色之一。 浦朗克提倡讓音樂融入於生活當中之理念，其音樂創作靈感與素材，亦源自於生活與周遭人事物，尤以人的情感為主，促成他持續創作的動力，更造就其獨特的和聲色彩與動人旋律，對於近代法國音樂的貢獻甚鉅。 此論文共分為五個章節，第一章為緒論，說明研究目的、內容與方法；第二章就「即興」一詞的緣起，探討此創作手法在音樂史上的發展；第三章從浦朗克之生平，知曉其生活對於創作手法與音樂風格的影響，進而從中認識浦朗克的鋼琴即興作品。第四章為此論文之核心，以浦朗克《15首鋼琴即興曲》依序進行詳盡的研究分析與演奏詮釋，除了成長環境外，浦朗克與當代藝術家們的結識，以及與好友之間的情誼，在彼此對於藝術理念的激發之下，深深地牽引著浦朗克的創作手法與音樂風格，而此組作品之特色，在於浦朗克每首樂譜中皆有明確標示出題獻者，讓演奏者能夠透過對於樂曲創作背景、以及題獻者之充分了解，更加深刻地表現出浦朗克所要傳達之意境與感受。此外，藉由此次研究，得以認識到許多法國當時的音樂家、教育家、歌手、作家、演員…等藝術家，以及他們對於當今法國藝術界的影響，與音樂的發展息息相關。經由前述的分析與探討，進而得到第五章之結語，尤為教育學術之典範，筆者將以親身練習經驗給予回饋，期望在演奏時能更貼近作曲家預想之詮釋，以及對於法國音樂有更加深入的了解。Francis Jean Marcel Poulenc (1899-1963) is one of the most important composers and pianists in the twentieth century. Like Doruis Mihauld (1892-1974) and George Auric (1899-1893), the members from Les six, Poulenc devoted himself to composing and developing music. Besides his well-known piano works, he also composed chamber music, concerto, chorus works, opera, ballet, sacred music, and vocal works. Among these musical genres, Poulenc treasured vocal pieces the most. This study reveals that lyrical and elegant melody is one of the most important elements in Poulenc’s compositions. Poulenc advocated that music should be integrated into daily life. Things and stories surrounded him became the resources of his competitions, particularly the emotional elements. The interaction between Poulenc and his surroundings even encouraged him to keep composing. Furthermore, his unique harmonic language and touching melodies became the important part of the contemporary French music. This thesis is divided into five parts. First chapter is the motivation and study method of this thesis. The term “improvisation”and its development in music history will be discussed in chapter two. Chapter three relates to Poulenc’s background, which influenced his compositional technique and music style. After then, Poulenc’s piano work “Les Quinze Improvisations pour piano (15 Improvisations)” is carefully studied in chapter four. In addition, musical analysis and performance practice on each piece is provided chronologically. In every piece of this piano work, Poulenc clearly marked the name whom he dedicated to. This helps pianist understand the background of each piece deeply in order to perform them closer to what Poulenc expected. Chapter five is the summarize of this study. Besides, the author would like to share the knowledge and the experience of performing compositions during this research. These feedbacks can be an useful information for pianists who want to have a closer look to contemporary French music.