當代長號協奏曲探討：以林伯格、史巴克及維赫斯特的作品為例

Abstract

長號是一項歷史悠久的銅管樂器，其剛柔並濟的特性自中世紀以來即廣受喜愛。不過直到十八世紀中葉以前，長號仍然主要用於教堂音樂 (特別是用於強化低音) 和小型合奏，直到十八世紀後期它才成為管弦樂團的一部分。這個樂器常有神權或超自然現象的象徵，目前最常見的三種長號組合長號—中音、次中音和低音長號—也可以追溯到十八世紀後期。如今，長號作為西洋音樂發展史上重要的樂器，無論是用在管弦樂團、室內樂或是獨奏，都具有獨特的音色與語法。二十一世紀多元而開放的文化，造就了長號藝術豐富的語彙。本研究將以當代三首著名的長號協奏曲—林伯格 (Christian Lindberg, 1958- )《角落的曼德拉克》(Mandrake in the Corner, 2000)、史巴克 (Philip Sparke, 1951- ) 《長號協奏曲》(Trombone Concerto, 2006) 以及維赫斯特 (Steven Verhelst, 1981- )《世界協奏曲》(World Concerto) 為例，窺探在這個交替的世代，長號音樂藝術發展的趨勢與脈絡。

The trombone is a brass instrument with a long history. It has been widely loved since the Middle Ages for its variety of possibilities. However, until the mid-eighteenth century, the trombone was still mainly used in church music (especially for bass reinforcement) and small ensembles, and it was not until the late eighteenth century that it became part of an orchestra. The instrument maintained strong associations with the sacred symbols or the supernatural. And the most common trombone combinations - alto, tenor and bass - also date back to the late eighteenth century.For now, as an important instrument in the history of Western music, the trombone has unique timbre and language, whether used in orchestras, chamber music or solo. The diverse and open culture of the 21st century has created a rich vocabulary of trombone art.This study will take three famous trombone concertos in the early 21st century — Christian Lindberg’s Mandrake in the Corner, Philip Sparke’s Trombone Concerto, and Steven Verhelst’s World Concerto as examples to explore the trend and context of the development of trombone music art in this alternate generation.