撒姆爾．巴伯《大提琴奏鳴曲，作品六》之分析與演奏詮釋

Abstract

撒姆爾．巴伯（Samuel Barber, 1910-1981）為二十世紀美國新浪漫主義中最具代表性的音樂家。他是一位作曲家、鋼琴家、聲樂家也是一位指揮家。他致力於在保留傳統的前提之下，發展和建立屬於他自己的個人特色。 本詮釋報告研究的是他唯一的一首大提琴奏鳴曲《大提琴奏鳴曲，作品六》，此為他於二十二歲時，於學生時期所創作的最後一個作品，完成於1932年，題獻給他於柯蒂斯音樂學院的作曲老師斯卡列羅，此奏鳴曲後被譽為本世紀最傑出的大提琴奏鳴曲。因為此曲屬於他早期的作品，所以可以明顯看到巴伯以傳統的奏鳴曲式寫成，卻可在其中找到屬於二十世紀的和聲色彩與手法，第一樂章為不太快的快板、第二樂章為慢板，第三樂章則為熱情的快板。 本論文共分六個章節，第一章為緒論，包含此論文的研究動機與目的，以及研究方法與結構；第二章為文獻探討，包含二十世紀美國音樂史概述、巴伯生平、重要作品與特色，以及作品六之創作背景與首演資料；第三章為樂曲分析；第四章為鋼琴合作之探討；第五章為有聲資料之賞析；第六章為結語。Samuel Barber (1910-1981) is an American composer, pianist, baritone, and a conductor. He is one of the most outstanding Neo- Romantics musicians among the twentieth century. He is known for building and establishing his own musical characters while maintaining a solid foundation of traditions. Samuel Barber completed《Cello Sonata, Op. 6》in 1932 when he was 22 years old, and he dedicated this work to Scalero, who was his composition teacher in The Curtis Institute of Music. This work was later praised as the most brilliant cello sonata of the twentieth century. There are three movements in this sonata: Allegro ma non troppo, Adagio, and Allegro appassionato. It is apparently written in a traditional form, but one can see that it was also composed with the sound and tone of the twentieth century. This study is consisted of six chapters: Chapter one is an introduction on the research motif and objectives, research methods, and the structure of this paper; Chapter two includes the general introduction of American music, the life of Samuel Barber, and his important works; Chapter three is the music analysis; Chapter four is to discuss the interpretation in a collaborative pianist’s viewpoint; Chapter five is the comparison of the recordings, and Chapter six is the conclusion.