理查．史特勞斯的「鋼琴藝術歌曲樂團化」－創作、演出與出版
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Date
2015-05-??
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國立臺灣師範大學音樂學院
College of Music, NTNU
College of Music, NTNU
Abstract
理查．史特勞斯（Richard Strauss, 1864-1949），在樂團歌曲的發展上是最具有代表性的人物之一。按照作品生成的步驟，他的樂團歌曲又可分為「鋼琴藝術歌曲樂團化」與「原創樂團歌曲」兩類，並以前者為大宗。作曲家將自身的藝術歌曲由鋼琴版本改編為樂團版本，所反映出的不只是單一「樂類」之發展與變異，它其實突顯出在十九世紀末至廿世紀初之音樂產業中，如何將「藝術歌曲」視為一商品來操作。本研究藉由相關史料的爬梳，說明史特勞斯當時將自身鋼琴藝術歌曲樂團化的動機，同時，亦將整理作品演出乃至於出版的情形，以「創作—演出—出版」的互動關係，說明這一類作品特殊的文本性。
Richard Strauss (1864-1949) is a representative figure of the genre ＂Orchesterlieder＂. Judging from his creative process, we can divide his work for this genre into two sub-categories: the original ＂Orchestergesang＂ and the ＂Klavierlied- Orchestrierung＂. Strauss's orchestral arrangement of his own Lied embodies both the historic evolution and its derivation from this specific music genre; but more importantly it illuminates how Lied was viewed and even manipulated as a commercial product in the fin-de-siècle music industry. By re-examining primary sources, including Strauss's correspondence, documents pertaining to these works' performance history and their publication, the author investigates the motivation of Strauss's orchestration for his own piano Lieder, especially the commercial factors involved, and unfolds the textual interplay between composition-performance-publication of ＂Klavierlied-Orchestrierung＂.
Richard Strauss (1864-1949) is a representative figure of the genre ＂Orchesterlieder＂. Judging from his creative process, we can divide his work for this genre into two sub-categories: the original ＂Orchestergesang＂ and the ＂Klavierlied- Orchestrierung＂. Strauss's orchestral arrangement of his own Lied embodies both the historic evolution and its derivation from this specific music genre; but more importantly it illuminates how Lied was viewed and even manipulated as a commercial product in the fin-de-siècle music industry. By re-examining primary sources, including Strauss's correspondence, documents pertaining to these works' performance history and their publication, the author investigates the motivation of Strauss's orchestration for his own piano Lieder, especially the commercial factors involved, and unfolds the textual interplay between composition-performance-publication of ＂Klavierlied-Orchestrierung＂.