外在形式的創新與音樂內容的思考──布魯赫的三首小提琴協奏曲

Abstract

十九世紀前半，小提琴協奏曲多由著名的小提琴家所創作，直到十九世紀後半，作曲家才開始主導小提琴協奏曲的發展。其中，布魯赫《第一號小提琴協奏曲》是十九世紀後半第一首由作曲家創作、並大獲成功的小提琴協奏曲，至今依舊活躍於音樂舞台。 事實上，布魯赫共創作三首小提琴協奏曲，但後兩部作品在今日幾乎已被遺忘。這三部作品各異其趣：前兩部作品著重於形式的創新，反映了小提琴協奏曲在十九世紀中後期的多元化發展；《第三號小提琴協奏曲》的形式傳統，卻有更豐富的音樂內容，這反映了小提琴協奏曲在十九世紀末不只是「小提琴作品」，更追求「樂團作品」的「豐碑性」訴求。 本論文即以布魯赫的三首小提琴協奏曲為研究對象，從不同角度呈現作曲家在這三部作品中的不同思考，並嘗試從十九世紀小提琴協奏曲發展的脈絡，進一步詮釋這三部作品的歷史定位。In the first half of the nineteenth century, violin concerti were written mostly by famous violinists. Not until the second half of the century did composers dominate the development of this genre. Max Bruch’s Violin Concerto No. 1 is among the first violin concerti in mid-late 19th century that was not only written by a composer, but was also successful. Nowadays this work is still a piece of standard concert repertoire. As a matter of fact, Bruch wrote three violin concerti, though the last two concerti are almost forgotten today. The three works differ from each other to a great extent. The structure of the first two concerti is original, which reflects the development of the violin concerto in middle-late nineteenth century. The form of Bruch’s Violin Concerto No. 3 is conventional. Nevertheless, this work includes unusually rich material in its content. This suggests that, in late nineteenth century, the genre of violin concerto is not merely "violin piece," but rather, orchestral work of some sort that presents monumentality. In this thesis, I explore Bruch’s three violin concerti. I seek to find out the considerations Bruch had while working on each concerto, an issue I approach from various perspectives. I aim to evaluate the three works’ historical position in the context of violin concerto’s development in the nineteenth century.