舒曼《狂歡節》作品九之創作元素及演奏詮釋分析

Abstract

羅伯特・亞歷山大・舒曼（Robert Alexander Schumann, 1810-1856）是十九世紀浪漫樂派重要的德國作曲家，從小在書香門第的環境中受到文學薰陶，細膩的感知感受和富有想像力的藝術潛能，深深影響其創作手法和音樂風格。本論文探討鋼琴作品《狂歡節──四個音符的小景》（Carnival: Scenes mignonnes sur quatre notes, Op. 9, 1834-1835），是舒曼音樂與文學結合的代表作品之一，組曲中二十個附上標題的小品，都有獨到的風格和特色，包含舒曼代表性的雙重性格人物，如第五首敏感脆弱的奧塞比斯（Eusebius）和第六首熱情激進的佛羅倫斯坦（Florestan）。此外，舒曼也巧妙地運用曾經的愛人艾妮斯汀娜（Ernestine von Fricken, 1816-1844）的家鄉小鎮名「阿許」（ASCH）中的四個字母，作為曲中不同組合的文字動機。這些創作風格與特色手法，皆可窺探舒曼的內心世界，亦全然訴諸於音樂之中，使《狂歡節》整套組曲富含多彩的音樂內容。本論文共分為五個章節，第一章為緒論，介紹研究動機以及研究方法與範圍；第二章概述舒曼的生平和文學背景；第三章整理舒曼鋼琴曲的創作特點，並藉由對《狂歡節》的創作起源和音樂特色做進一步的探究；最後一章則分析演奏詮釋。

Robert Alexander Schumann（1810-1856）r, an important German composer of the Romantic Period, was inspired by literature in his life. The delicate sensibility and imaginative artistry influence his compositional techniques and musical styles.This paper will explore the piano work"Carnival: Scenes mignonnes sur quatre notes, Op. 9, 1834-1835", one of Schumann's representative works combining music and literature. There are twenty pieces with titles in this set, each of them has its own styles and distinctive features which reveals Schumann's multiple personalities. His famous pseudonyms are presented by the sensitive Eusebius in No.5 and the enthusiastic Florestan in No.6. In addition, Schumann cleverly used the four letters "ASCH", which is the name of his former loverErnestine von Fricken’s (1816-1844) hometown, as motives for three different combinations in the whole set. These creative styles and characteristic techniques provide a glimpse of Schumann's inner world, and they are also fully applied in music, making the whole set of "Carnival" rich in musical contents. This thesis is divided into five chapters. The first chapter is the introduction, which includes reserch motives and methods. The second chapter outlines Schumann's life and literary background. In the third chapter, I will sort out the creative features of Schumann's piano pieces and further explore the origin and musical characteristics of "Carnival". The last chapter analyzesthe interpretation of performance practice in this piece.