貝多芬晚期鋼琴變奏曲的蛻變與昇華──以演奏法的觀點詮釋《迪亞貝里變奏曲》

Abstract

貝多芬(Ludwig van Beethoven, 1770-1827)在鋼琴變奏曲的發展史上扮演承先啟後的關鍵地位，實踐作曲技巧的革新、突破，也提升了鋼琴變奏曲的藝術價值。

本論文所探討的《迪亞貝里鋼琴變奏曲》(33 Veränderungen über einen Walzer von Anton Diabelli, Op. 120, 1819, 1823)是貝多芬晚期唯一的鋼琴變奏曲，不論內容、規模都遠遠超越先前的作品 。此曲的曲名採用德文"Veränderungen"一字，為全然變樣、改變原來風貌之意，在創作手法上的突破更為浪漫時期的鋼琴變奏曲展開新頁，尤其對布拉姆斯 (Johannes Brahms, 1833-1897)產生極為深遠的影響。美國音樂學家西斯曼 (Elaine Sisman, 1952- )在葛羅夫音樂辭典中提到「儘管性格的變奏不再是此一形式輪廓變奏曲中最顯著的特徵，相形之下，織度與富表情的各式風格之極致表現更為重要。」並且，最終變奏是一首優雅而溫柔的小步舞曲，將迪亞貝里(Anton Diabelli, 1781- 1858)所作的庸俗的圓舞曲主題轉化並昇華到另一個境界。

本論文第一章為鍵盤變奏曲的發展史，探討各時期鍵盤變奏曲的風格與特色；第二章闡述貝多芬的鋼琴獨奏曲在早期、過渡期、中期、晚期的風格特色；第三章聚焦於貝多芬鋼琴變奏曲的風格演變，並點出《迪亞貝里變奏曲》的突破及影響；第四章為《迪亞貝里變奏曲》的創作手法分析，藉由分析個別變奏的性格與特色、變奏之間的關聯性，進而形成對全曲整體性的掌握；第五章為《迪亞貝里變奏曲》的演奏詮釋探討；第六章為結論。

尤其，第五章特別強調以「演奏法」的論述詮釋此曲 ── 探究樂譜版本、貝多芬作品中的朗誦風格、速度與性格、力度與層次、觸鍵與音色、踏板、指法、裝飾音奏法等演奏詮釋的各項議題。期盼能表達此曲深刻的內涵，更貼近貝多芬的意圖，呈現更忠實、更有說服力的演出，在演奏上達到「蛻變與昇華」的境界。Not only did Ludwig van Beethoven (1770-1827) inherit the essence of piano variations in the Classical period, but he also made significant innovations and breakthroughs, forging a new path for Romantic composers, especially for Johannes Brahms (1833-1897).33 Veränderungen über einen Walzer von Anton Diabelli, Op. 120 (1819, 1823) is the only set of piano variations composed in Beethoven's late years. Instead of using the traditional "Variations" in the title, Beethoven chose the word "Veränderungen," which means alterations and transformation. As the musicologist Elaine Sisman (1952- ) mentioned in Grove Music Online, "although characteristic variations do not remain at the fore during this formal-outline set, extremes of textures and of expressive types do." The "Veränderungen" and profundity of the piece surpass its predecessors.

The first chapter of this dissertation illustrates the development of keyboard variations from the Renaissance to the twentieth century. Then musical styles of Beethoven's solo piano works in his four compositional periods are revealed in the second chapter. And it narrows down to Beethoven's piano variations and points out the breakthrough and influence of Diabelli Variations in the third chapter. The following chapters in sequence are style analysis, interpretation of Diabelli Variations, and the conclusion.In the fourth chapter of style analysis, it can be seen that every single variation is a microcosm, and the connections between variations contribute to the whole. Furthermore, Beethoven transformed the commonplace waltz theme by Anton Diabelli (1781-1858) into an elegant minuet, which reached toward the sublime in the finale of the piece.

Concerning the interpretation, the researcher digs into issues of performance practice in the fifth chapter, including editions, Beethoven's rhetorical style, tempo, dynamics, touch, pedalling, fingering, and ornamentation. This dissertation aims to be as close to Beethoven's intention and innermost thoughts as possible, and to achieve "Veränderungen and Transcendence" on piano performance.