孟德爾頌《管樂序曲》作品二十四之樂曲探究與指揮詮釋

Abstract

孟德爾頌是舉世知名的浪漫主義時期作曲家，以《仲夏夜之夢》、《芬加爾洞窟》等作品聞名於世。卻很少在音樂史書籍上提到其於1826年創作了《管樂序曲》，本曲首次將原本當時風行的室內管樂重奏編制（包含四重奏、五重奏、八重奏等），擴張成類似於現在管樂團編制的管樂合奏曲。十八世紀是「管樂小合奏團」如雨後春筍發展的時期，許多讓人耳熟能詳的古典樂作曲家均有專門寫給「管樂小合奏團」，或是「軍樂隊」的作品，但因目前古典樂研究主要以弦樂與管樂發展作為敘事主軸，故這類作品極少被提及與演出，導致管樂發展缺乏自身的脈絡而被隱沒於音樂史研究的邊陲地帶。本研究內容分別針對《管樂序曲》之時代背景，創作背景、樂曲分析指揮詮釋進行撰寫。於第二章特重於17世紀末至十八世紀中期的管樂作品整理與說明。並於第三章針對《管樂序曲》之樂曲動機、主題與結構進行分析。第四章則以指揮角度，根據實際排練的經驗對樂曲之音色處理，指揮技巧與詮釋等進行探討。期盼透過這篇嘗試以「管樂音樂」為主體的研究，能持續建構台灣管樂音樂發展之「主體性」，不再成為管弦樂或交響樂團發展史中的「補充說明」。Jakob Ludwig Felix Mendelssohn Bartholdy is a world-famous composer of the Romanticism period, best known for his works such as“Ein Sommernachtstraum” and “Die Fingalshöhle”. However, few music history books mention that he composed the “Ouvertüre für harmoniemusik Op. 24” in 1826. This piece was the first to compose for “harmoniemusik” that was popular at the time (including quartet, quintet, Octet, etc.), expanded into a wind ensemble similar to the current wind band.The 18th century was a period when “ harmoniemusik ” mushroomed. Many well-known classical music composers wrote works specifically for “ harmoniemusik ” or “military bands”. However, due to current Classical music research mainly takes the development of string and wind instruments as the main narrative axis, so such works are rarely mentioned and performed. As a result, the development of wind instruments lacks its own context and is hidden in the fringe area of music history research.This research focuses on the historical background, composition background, music analysis, and conducting interpretation of“ Ouvertüre für harmoniemusik Op. 24”. In the second chapter, special emphasis is placed on the compilation and explanation of wind music works from the late 17th century to the mid-18th century. In the third chapter, the musical motivation, theme, and structure of“ Ouvertüre für harmoniemusik Op. 24” are analyzed. In the fourth chapter, from the perspective of the conductor, the timbre processing, conducting techniques, and interpretation of the music are discussed based on the actual rehearsal experience.It is hoped that through this study that attempts to focus on “ Wind Music ” , the “ Subjectivity ” of the development of wind music in Taiwan can be continuously constructed, and it will not an “ additional information” in the history of the development of orchestras or symphony orchestras.