萊因貝爾格《G小調聖母哀悼曲》音樂分析與詮釋

Abstract

萊因貝爾格(Josef Gabriel Rheinberger, 1839-1901)為十九世紀後期之重要教會音樂家，自幼學習管風琴，12歲至慕尼黑皇家音樂學院學習，後擔任慕尼黑神劇協會音樂總監、巴伐利亞宮廷禮拜堂皇家樂長，並於皇家巴伐利亞音樂學院（今慕尼黑音樂戲劇學院）任教長達34年，作育英才，於當時頗具聲望。作品種類多元，交響曲、室內樂、協奏曲、器樂曲、合唱曲、聲樂曲皆有涉略，尤其管風琴作品與宗教合唱作品甚為精湛。《G小調聖母哀悼曲》(Stabat Mater in G Minor. Op. 138)創作於1884年，是為感謝聖母醫治右手傷痛所作。歌詞使用傳統天主教祈禱文，編制採用混聲合唱、管風琴及選擇性加入的弦樂團，經文與音樂有深刻連結展現音畫效果，旋律動人，兼具音樂性及宗教精神。全曲共分為四個樂章；第一樂章〈聖母痛苦侍立〉使用G小調的色彩及序奏的下行動機，定調全曲哀痛氛圍；第二樂章〈誰能不一起號哭〉承接第一樂章的序奏動機，以降E大調及七和弦色彩感嘆聖母的遭遇與悲痛，並以力度對比反應情緒起伏；第三樂章〈慈母仁愛源藪〉再現序奏的動機，隨後將調性轉至G大調，隱喻聖母的慈愛光輝，向聖母祈求庇佑，利用六四拍及較純淨的織度，呈現如搖籃曲般的恬靜；第四樂章〈童貞女中最卓越者〉可分為兩大段落，前段再次回到小調色彩，以C小調附點音符旋律，象徵聖母如君王般的威儀；尾段依循宗教作品傳統為賦格段落，G小調，並利用第一樂章的序奏動機進行卡農，描繪天堂榮光降臨。本論文共五章；第一章「緒論」共分三節，分述研究者之研究動機、研究範圍與內容及研究方法與文獻資料；第二章「背景探究」共三節，第一節為萊因貝爾格之生平，第二節為萊因貝爾格之音樂風格及合唱作品，第三節為〈聖母哀悼曲〉歌詞介紹；第三章為《G 小調聖母哀悼曲》之創作手法分析，根據樂曲有將以四節依序探討各樂章之創作手法；第四章為《G 小調聖母哀悼曲》之音樂詮釋與合唱排練建議，分為樂曲編制、重要動機與旋律、調性與和聲、力度與織度、速度與節奏、音畫手法、演出實務建議心得，共七節討論各樂章之音樂詮釋及合唱排練建議；第五章為本論文之「結論」。

Joseph Gabriel Rheinberger (1839-1901) was one of the important church musicians in late nineteenth century. He was born in Liechtenstein, started learning orgen since childhood, later studied at Königliches Conservatorium für Musik in Munich. Then he Served as music director of Munich Oratorienverein, Königlicher Hofcapellmeister of Allerheiligen Hofkirche. Also he had been a professor at Königliche bayerische Musikschule for 34 yaers, that makes Rheinberger prestigious because many musicians and musicologists studied under his instruction. His composition includes several musical geners, including symphonies, chamber music, concertos, instrumental pieces, choral pieces, and vocal pieces. Among them, organ and scared choral works are especially outstanding.“Stabat Mater in G Minor, Op. 138” was composed in 1884 for appreciated that God Mother recived Rheinberger praying and healed his right hand. Lyrics based on traditional latin prayer, and use mixed choir, organ, and optional strings for musical settings.“Stabat Mater” was divided in four movments. First movement ‘Stabat Mater’ is in G minor and uses a descending step-wise motive to announce the mournful atmosphere throughout the entire work. Second movement ‘Quis est homo’ took on the descending motive and moved to E-flat major, uses seventh chords to show sympathy for God Mother’s grief and struggle. Also uses the contrast of dynamics to represents the undulation of motions. Third movement ‘Eja Mater’ recaptured the descending motive then shifted to G major as a symbol of God Moher’s love, and prayed for blessing. It uses six beats and thinner texture as a peaceful lullaby. Final movement ‘Virgo viginum praeclara’ returns to G minor, is divided in two parts. First part uses dotted note moive in C minor to represent the impressive and dignified manner of God Mother; last part is a fugue, and echoed the descending motive to describe heavenly glory descended.This thesis comprises five chapters. The Introduction chapter covers motivation, research content, methodology, and related literature. The Second chapter, divided into three parts, includes a biography of the Rheinberger, the music style and choral works of Rheinberger, and lyrics analysis of the Stabat Mater. The third chapter is the musical analysis. It includes four movments. The forth chapter divided into seven parts to give some musical interpretation and choral rehearsal advices about the musical setting, important motives and articulations, tonality and hamorny, dynamics and texture, speed and rythtm in “Stabat Mater in G Minor”, also has an organization of word paintings that Rheinberger used in this piece, and researcher’s reflection on performing “Stabat Mater in G Minor”. The final chapter concludes the thesis.