法蘭西斯．浦朗克《雙簧管奏鳴曲》之分析與演奏詮釋

Abstract

本詮釋報告探討的主題為法蘭西斯．浦朗克(Francis Jean Marcel Poulenc, 1899-1963)《雙簧管奏鳴曲，作品185》，草稿寫作於1957年，完成於1962年，是一首相當具有代表性的法國管樂曲目，浦朗克將此曲獻給在1963年時已逝世十週年的普羅高菲夫(Sergei Prokofiev, 1891-1953)，也是他為了弔念自己尊敬且景仰的音樂家所作；浦朗克為《雙簧管奏鳴曲》每個樂章都寫下標題，第一樂章為《輓歌》、第二樂章為《詼諧曲》、第三樂章《哀嘆》，全曲由簡單而優美的旋律組成，以傳統的結構搭配當代法國音樂的特色，展現出浦朗克成熟且獨特的音樂風格，鋼琴在全曲扮演重要角色，藉由和聲色彩、觸鍵變化、與旋律的搭配充分表現浦朗克對於音樂的獨特風格及見解，以及與生俱來對於和聲的敏感度、旋律的創作天賦。筆者所撰寫的詮釋報告共有五個章節：第一章緒論，說明研究動機與目的、研究方法及架構；第二章文獻探討，概述作曲家的生長背景及創作特色，以及《雙簧管奏鳴曲》的創作背景；第三章樂曲分析，依照個樂章順序分別以調性、曲式、主題與動機、創作手法加以分析及整理；第四章樂曲詮釋，以鋼琴合作者的角度探究鋼琴與主奏者之間的關係，並提出實際排練時所得出的心得見解，例如：從鋼琴的觸鍵方式、踏板的控制、與夥伴間的合作技巧等方面，提出彈奏時適當的建議；第五章：結語，綜合上述分析重點，並提出筆者的詮釋觀點整理。The topic of this interpretation report is an investigation on Sonata for Oboe and Piano, FP185 by Francis Jean Marcel Poulenc (1899-1963). This sonata, drifted in 1957 and completed in 1962, is a fairly representative French wind music. Poulenc dedicated this music to Sergei Prokofiev (1891-1953) in 1963, ten years after his death. It was also to pay tribute to the musicians he respected and admired. Poulenc titled each movement of Sonata for Oboe and Piano, the first as Élégie , the second as Scherzo, the third as Déploration . The whole music is composed of simple and beautiful melodies, the traditional structure of which goes well with the characteristics of contemporary French music, showing the mature and unique style of Poulenc. The piano plays an important role in the whole music. Through the presentation of chords, the change of touch keys, and the collocation with the melody, it fully expresses Poulenc's unique style and understanding of music, as well as his innate sensitivity to harmony and creative talent for melody. My interpretive report consists of five chapters: Chapter 1 Introduction, illustrating the motivation, the purpose, the method and the structure; Chapter 2 Literature Discussion, reviewing the composer's growth background and creative characteristics, as well as the creative background of the Sonata for Oboe and Piano; Chapter 3 Composition Analysis, analyzing and organizing the tonality, musical form, theme and motive, and creative methods according to the sequence of each movement; Chapter 4, Music Interpretation, exploring the relationship between the piano and the lead player from the perspective of collaborative piano, and proposing the insights derived from actual rehearsal, such as the method of touch keys on piano, the control of the pedals, and the collaborative interaction with partners, which gives appropriate suggestions for performance; Chapter 5 Conclusion, summarizing the above analysis, and proposing my interpretation point of view.