皮耶佐拉《華麗的探戈》之分析與演奏詮釋

Abstract

皮耶佐拉（Astor Piazzolla, 1921-1992）為阿根廷二十世紀著名作曲家，以創作及演奏探戈音樂聞名。他曾在1954年前往法國巴黎，跟隨著名的音樂家娜迪亞．布蘭潔（Nadia Boulanger, 1887-1979）學習作曲一年；掌握古典音樂作曲技法之際，他同時也積極創作探戈音樂，並融合新古典主義與爵士樂等不同音樂風格，因此作品常既有古典音樂的曲式，也包含現代的配器、和聲色彩等元素。《華麗的探戈》（Le Grand Tango）為皮耶佐拉唯一寫給大提琴與鋼琴的二重奏作品，創作於1982年，因題獻給俄羅斯大提琴家羅斯托波維奇（Mstislav Rostropovich, 1927-2007），大師於1990年在美國紐奧良首演此曲。由於使用許多爵士樂的元素，卻又保持古典音樂嚴謹的創作手法，當代大提琴音樂會常將此曲選為表演曲目之一。本書面報告分為四個章節：第一章為緒論，包含研究動機與目的，以及研究方法；第二章為文獻探討，第一節概述皮耶佐拉的成長背景及學習歷程，第二節概述探戈的歷史發展與其樂舞特色；第三章為樂曲分析與鋼琴合作詮釋探討，筆者將此曲分為三大部分，分析其曲式、調性及創作手法等等，並以鋼琴合作者的角度來深入探討可能的詮釋；第四章為結語。Astor Piazzolla (1921-1992) was a renowned 20th-century Argentine composer, especially famous for his tango music. He went to Paris in 1954 and studied with composer Nadia Boulanger (1887-1979) for one year. But, he studied not only classical music compositional techniques but also explored new way of composing tango music. Meanwhile, he integrated various musical styles such as Neo-classicism and jazz. Ever since, his compositions often reflected influences from classical music before 20th- century and incorporated modern instrumentation and harmonic colors.Le Grand Tango was Piazzolla's only work for cello and piano. It was composed in 1982 and dedicated to the Russian cellist Mstislav Rostropovich (1927-2007) who premiered it in New Orleans, USA in 1990. The music employs rich elements of jazz while maintaining the rigorous compositional techniques of classical music, thus is frequently selected in cello concerts nowadays.This written report is divided into four chapters. The first chapter is an introduction including the research motivation, objectives and methodology. Thesecond chapter is a literature review, including the first section providing an overview of Piazzolla's study background and life experiences, while the second one summarizing the historical development and characteristics of Tango. The third chapter offers the musical analysis, including music form, tonality and compositional techniques then basing on the perspective of piano collaboration, discussing techniques of piano collaboration. The fourth chapter is the conclusion of whole report, highlighting the key points of mentioned above.