李斯特交響詩《前奏曲》樂曲分析與指揮詮釋研究

Abstract

李斯特（Franz Liszt, 1811-1886）是十九世紀浪漫時期一位代表性的作曲家及鋼琴家。在他的作品之中，開發了具前瞻性的新方法、新技巧，影響了二十世紀的音樂。「主題變形」是他積極發展的作曲技法，加上實驗性質的和聲，讓他的作品具有代表性。「交響詩」是他為管絃樂作品開創的新形式，不僅讓標題音樂的發展往前邁進一大步，也影響了其他作曲家開啟了交響詩的創作。

李斯特在1840-1850年創作了一系列的交響詩，他的交響詩作品共13首，其中最著名也最常被公開演奏的便是第三首《前奏曲》（Les Préludes, 1854）。本文針對《前奏曲》之分析與指揮詮釋，從作曲家生平、作品創作相關背景著手探討，以「主題變形」手法運用，配合和聲與調性進行樂曲解析；透過雙鋼琴排練，及有聲資料的聆賞，進行整合並藉此提出適當的指揮詮釋。期望以此深入瞭解李斯特《前奏曲》之音樂內涵與指揮詮釋。

Franz Liszt (1811-1886) was one of the most influential and prolific composer and pianist during the nineteenth century Romanticism music era. His music created the groundbreaking ideas and innovative techniques that influenced and shaped the music trends of the twentieth century. “Thematic transformation” was one of the composing techniques that he was actively developing and pursuing in addition to the harmony as part of his musical experiments, which molded his music to become one of the most indicative of his time. Symphonic poem was the new format he invented for orchestra. This new format further shaped the program music and also influenced other composers in aspiring them to begin their works on symphonic poem.

Liszt created a series of symphonic poem in between 1840 to 1850. He had a total of thirdteen symphonic poems. The most prominent and also performed most frequently in public was his third symphonic poem, “Les Préludes”, among his thirteen. This thesis will analyze the composition of “Les Préludes” and discuss the composer’s life and related background in his composition, including technique applied in the thematic transformation, harmonic realization. Conducting interpretation is based on two pianos rehearsals and musical choice. The goal of this thesis is to further examine the composition and achieving conducting with great understanding of Franz Liszt’s “Les preludes”.