韓德爾《九首德國詠唱調》為女高音、獨奏樂器與持續低音所寫－作品 202-210之分析與詮釋

Abstract

在歌劇崛起得年代，為女高音、獨奏樂器與持續低音所寫《九首德國詠唱調》（Neun deutsche Arien, HWV202-210）成為韓德爾作品中，有別於其他歌劇作品的清流。此作品為巴洛克時期德裔英籍作曲家韓德爾，在西元1724年至西元1727年間的室內聲樂詠唱調音樂作品。在韓德爾眾多的義大利式歌劇中，皆以義大利文為創作語言，然而，此作品並非出自於歌劇作品的義大利詠唱調，為單獨音樂作品，採用德國詩人布洛克斯（Barthold Heinrich Brockes, 1680-1740）的詩集，使用德語歌詞，結合三重奏鳴曲（Trio Sonata）的編制，完成此部作品。本詮釋報告以《九首德國詠唱調》（Neun deutsche Arien, HWV202-210）為研究主題，探究其在強調自然神論的時代裡，歌詞與音樂之間的關係，並進行女高音在三重奏鳴曲中的演唱詮釋探討。

German-British Baroque composer Handel’s Neun deutsche Arien for Soprano, one Solo instrument and Basso continuo, HWV202-210 is an unique music piece in Handel’s arias which is different from his operatic arias. This music work is vocal chamber music which was composed during 1724 A.D. to 1727 A.D. during the era of the rise of opera. All of the arias in Handel’s Italian style opera are both composed and sung in Italian. However, the difference between Neun deutsche Arien and Handel’s other operatic airas is that Neun deutsche Arien is an independent piece that does not belong to any opera. Handel introduced the German poems of the German poet Barthold Heinrich Brockes (1680-1740) into the establishment of trio sonata in this piece. This thesis mainly focuses on the interpretation, analysis, and music structure of Neun deutsche Arien and the exploration of the relationship between it's lyrics and music.