李斯特四首鋼琴改編曲之分析與詮釋

Abstract

身為作曲家兼演奏家的李斯特（Franz Liszt, 1811-1886），為了因應巡迴演奏工作中大量的曲目需求，將眾多著名的樂曲改編，使得許多重要的曲目得以重新展現於世人眼前，後代學者認為其對改編曲之創作有莫大的貢獻。在改編技法方面，李斯特除了將原曲完整地移植到鋼琴上外，並擷取原曲中的片段加以發展，添加不少繁複的鋼琴演奏技巧，使全曲保有原曲的輪廓與內涵外亦能呈現全新的樣貌。

研究者先介紹李斯特的音樂養成背景，及十九世紀鋼琴改編曲之分類，參考文獻中對李斯特改編曲之分類，分為藝術歌曲改編曲、器樂獨奏改編曲、歌劇改編曲及管弦樂改編曲四大類，並就上述四類分別挑選出《奉獻》（Widmung）、《帕格尼尼大練習曲—獵歌》（La Chasse）、《弄臣音樂會模擬曲》（Concert Paraphrase of Rigoletto）及《骷髏之舞》（Danse Macabre）四曲加以分析與詮釋，以期更了解李斯特改編曲之特色與意義。As a composer and pianist, Franz Liszt (1811-1886) transcribed many famous works for touring performances, which made a lot of important music works reappeared in the world. In many scholars’ opinion, F. Liszt made great contributions in transcriptions composition. In the aspect of transcripting skills, F. Liszt not only fully transferred the original pieces into piano works, but also captured and developed fragments from original pieces. In addition to maintain the original features and meaningful content, F. Liszt added lots of consummate piano performing techniques within the original pieces to present them with new appearances.

The researcher first introduced the music cultivation of F. Liszt and the categories of piano transcriptions in the 19th century, then referred to literatures, classifying the transcriptions of F. Liszt into four species, including transcriptions of art songs, instrumental solo works, operas, and orchestral works. Based on the above categories, the researcher chose “Widmung,” “La Chasse,” “Concert Paraphrase of Rigoletto,” as well as “Danse Macabre” respectively. By analyzing and interpreting the four transcriptions, the researcher hopes to learn more about the features and significance of F. Liszt’s transcriptions.