浦契尼《光榮彌撒》之探究與指揮詮釋
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2018
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《光榮彌撒》(Messa di Gloria)於一八八〇年完成創作，為賈科莫•浦契尼(Giacomo Puccini, 1858-1924)自帕契尼音樂專科學校(Istituto Musicale Pacini)完成學業之大型合唱暨管絃樂畢業作品，其依循傳統彌撒之固定部分共分五個樂章；其中第三樂章〈信經〉採用一八七八年為「聖保利諾慶典」(Feast of San Paolino)所作的同名宗教樂曲《信經》(Credo)，兩年後再譜寫其餘四個樂章完成全曲。
浦契尼原先以《四聲部彌撒》(Messa a 4 Voci con orchestra)命名此作，並於同年七月十二日的聖保利諾慶典上首演，初顯丰采並大獲好評。然而他在生前從未出版此部作品或再度公開演出，直到一九五一年時，義裔美籍神父丹特•德•費歐倫提諾(Dante Del Fiorentino)發掘手稿，才冠上標題「光榮彌撒」並請紐約貝爾文─米爾斯出版社(Belwin-Mills, Melville, NY)代為出版，從此這部作品便以《光榮彌撒》聞名於世，因此筆者在論文中也以此名稱來稱呼；而目前全曲完整手稿收藏於浦契尼博物館(Puccini Museum)。
本論文透過探究作曲家生平及樂曲創作背景、分析曲中詳細之架構組成，並藉由實際排練與指揮展演整部作品，盼能對《光榮彌撒》一作有更全面性且深入的瞭解；同時，有感於國內對於研究浦契尼早期創作的著作甚少而瑣碎，期許能夠為此作提供一個脈絡較為連貫的參考資訊。
The Messa di Gloria, composed by Giacomo Puccini (1858-1924) in 1880, was the composer’s first large-scale piece of music and his largest nonoperatic work altogether, as well as the passing-out piece from the Istituto Musicale Pacini. Based on the Ordinary of Mass sections, it comprised of five movements, including the Credo, written for the Feast of San Paolino two years earlier. This work was called by Puccini simply Messa a 4 voci con orchestra, and its premiere on 12 July 1880 was a great success, praised by critics and public alike. Nevertheless, the Messa neither had been performed again after its original premiere, nor was published during the composer’s lifetime. Until in 1951, an Itano-American priest named Dante Del Fiorentino, discovered the manuscript and then published it under the well-known title of Messa di Gloria. Through the research of music theory and the preparation of score study from rehearsals to the performance, this thesis focused on three aspects: Puccini’s motive for composing religious music works in his early youth, the analysis of musical form construction and the conducting interpretation of Messa di Gloria. Meanwhile, consi- dering the domestic studies of Puccini's early compositions are scanty and incomplete, the author expected this thesis as a systemic and consistent review on this topic.
The Messa di Gloria, composed by Giacomo Puccini (1858-1924) in 1880, was the composer’s first large-scale piece of music and his largest nonoperatic work altogether, as well as the passing-out piece from the Istituto Musicale Pacini. Based on the Ordinary of Mass sections, it comprised of five movements, including the Credo, written for the Feast of San Paolino two years earlier. This work was called by Puccini simply Messa a 4 voci con orchestra, and its premiere on 12 July 1880 was a great success, praised by critics and public alike. Nevertheless, the Messa neither had been performed again after its original premiere, nor was published during the composer’s lifetime. Until in 1951, an Itano-American priest named Dante Del Fiorentino, discovered the manuscript and then published it under the well-known title of Messa di Gloria. Through the research of music theory and the preparation of score study from rehearsals to the performance, this thesis focused on three aspects: Puccini’s motive for composing religious music works in his early youth, the analysis of musical form construction and the conducting interpretation of Messa di Gloria. Meanwhile, consi- dering the domestic studies of Puccini's early compositions are scanty and incomplete, the author expected this thesis as a systemic and consistent review on this topic.
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浦契尼, 光榮彌撒, 指揮詮釋, Puccini, Messa di Gloria, conducting interpretation