劉文金二胡協奏曲《長城隨想》作品分析與指揮詮釋

Abstract

劉文金（1937-2013）二胡協奏曲《長城隨想》完成於1982年，以四樂章的大型二胡協奏曲體裁，創造了一首劃時代的國樂經典曲目，也開啟了二胡作品的一條嶄新道路。於同年之「上海之春」音樂節中首演，由瞿春泉指揮上海民族樂團，閔惠芬擔綱二胡獨奏，引起巨大迴響，並且在中國第三屆音樂作品評獎中獲得第一名的殊榮。此後三十多年來，這部鉅作再也不曾缺席國樂世界的舞台上，經歷了無數音樂家的詮釋與演奏，藝術價值已臻不朽。此外，更深刻地影響了後世二胡作品創作的道路。 此論文共分五章，以《長城隨想》作為本文研究主題，透過對總譜的研讀以及實際排練與演出《長城隨想》的經驗，針對這部作品進行深入的樂曲分析及指揮詮釋之探討與研究，以期更進一步地理解劉文金的創作理念。

As the erhu concerto “The Great Wall Capriccio”, composed in 1982, the composer Wenjin Liu (1937-2013) created a timeless classic piece for Chinese music. Liu was not only setting an ordinary four-movements form of broad-scale erhu concerto, but also turning on a neoteric road of Chinese orchestral pieces. The Shanghai Chinese Orchestra, under the baton of Chunquan Qu, premiered the concerto at The Shanghai Spring Music Festival in 1982. The erhu soloist was Huifen Min. The concerto has received great success in its premiere and garnered the first prize in The 3rd National Composition Competition. This piece was very well received and continued to be performed over 3 decades and in and around every Chinese cultural region. The artistic value of the piece has been proven by numerous musicians, and widely influenced the way of the composition of erhu works.

There are 5 chapters in this thesis; research subject is on “The Great Wall Capriccio”. This Thesis focuses on the form and analysis as well as the conducting interpretation. From the preparation of score study, rehearsals to the performance, it is a significant piece to assist the reader in deepening the understanding of composer Wenjin Liu’s musical ideas.