布拉姆斯作品五十四《命運之歌》分析與音樂詮釋

Abstract

布拉姆斯出生於動盪的十九世紀，在這個豐富的時代，他承襲著古典樂派的精神，受到浪漫主義的薰陶，創造一條屬於自己的作曲風格。作品涵蓋了器樂與人聲作品，其中器樂合唱作品佔有重要地位，共創作了十三首器樂合唱作品，貫穿了其生涯的四個創作時期，《德意志安魂曲》、《凱旋之歌》、《女低音狂想曲》、《命運之歌》等，皆是布拉姆斯備受盛名且重要的器樂合唱作品。《命運之歌》創作於一八六八至一八七一年，歌詞來源自德國詩人賀德林的詩作《許佩里翁的命運之歌》，許佩里翁是一個希臘青年，面對戰爭現實的殘酷，再加上愛人的離去，因而用詩歌表達其悲痛的情緒。歌詞講述著天神們的世界，寧靜、安和、自由，而相反地人類生活卻是醜陋而痛苦。布拉姆斯利用音樂表達內心的情感，雖然命運多舛，透過音樂，可以撫慰人的心。《命運之歌》在樂團使用了雙管編制，配器分別為兩部長笛、兩部雙簧管、兩部單簧管、兩部低音管、兩部法國號、兩部小號、三部長號、定音鼓及弦樂五部，合唱團為四部混聲合唱團。樂曲共分成三個段落，A段落為降E大調、慢板，由前奏與合唱團組成，演唱第一、第二節歌詞，講述天神和樂的世界，B段落為c小調、快板，由合唱團演唱第三節歌詞，述說人類悲苦的人生，C段落為C大調、慢板，織度回到只有樂團的尾奏。布拉姆斯藉由調性與速度變化，描寫了歌詞的情緒轉折，使音樂更加貼近歌詞的寓意。本論文共分為五個部分，第一章緒論探討研究的目的與動機、研究的內容及範圍，並提供研究的參考文獻與研究方法；第二章背景探究分別為作曲家生平、布拉姆斯的器樂合唱作品、《命運之歌》的歌詞來源與背景；第三章針對《命運之歌》做樂曲的分析；第四章藉由第三章樂曲分析提供本曲的排練建議與指揮詮釋，最後則為本論文之結論。另附有一則附錄，為《命運之歌》歌詞的德文翻譯與音標表。

Brahms (1833-1897) was born in the turbulent 19th century. In this rich era, he inherited the spirit of classicism and the influence of romanticism, which enabled him to create his own style in the latter part of the 19th century.Brahms’ works covered instrumental and vocal music. Thirteen orchestral/ choral works plays an important role in Brahms' composition and runs through the four periods of Brahms' career. Among them, German Requiem, Song of Triumph, Alto Rhapsody, Song of Destiny, are Brahms's most famous and important orchestra accompanied choral works. Song of Destiny was composed from 1868 to 1871. The lyrics are derived from the poem Hyperions Schicksalslied by the German poet Hölderlin. Hyperion was a young Greek who faced the cruelty of war. Coupled with the lost of his lover, he expressed his deep grief with poetry. The Lyrics, in the beginning, describes the heavenly life, a tranquil and free world. On the contrary, the human world is full of pain and doubt. Brahms uses music to express these two different emotions. The original ending of the story is sad; however, Brahms closes his music with a positive and peaceful feeling--although life has a lot of trouble, music can soothe people's hearts. Song of Destiny uses two flutes, two oboes, two clarinets, two bassoons, two French horns, two trumpets, three trombones, timpani and strings in the orchestra, and a four-part mixed choir. The music is divided into three sections. The first section is in E-flat major and in a slow motion, including the orchestral introduction and the choir sings the first and second stanzas of the text. The second section is in C minor and fast tempo. The choir sings the third stanza. The third section is in C major. The tempo goes back to Adagio and the weavereturns to only the orchestra's ending. Brahms describes the emotional transition of the lyrics by changing the tonality and tempo, making the music closer to the meaning of the text. This thesis consists of five chapters. Chapter 1 is the introduction, which presents the motivation, the research method, and the references. Chapter 2 explores the life of the composer, his orchestral/choral works, and the background of the text for "Song of Destiny.” Chapter 3 is the musical analysis of Song of Destiny; Chapter 4 provides suggestions for rehearsal and interpretation of Song of Destiny. The last chapter is the conclusion. There is also a table of contents for German pronunciation and phonetic of the text of Song of Destiny.