蕭滋生平及其三首雙鋼琴作品研究

Abstract

蕭滋（Robert Scholz, 1902/03–1986），是一位曾經深刻影響臺灣音樂界的西方音樂家。蕭滋的一生，如同一部自學與奉獻交織而成的音樂史詩，展現了他從故鄉奧地利的史泰爾古城（Steyr），走向世界舞台的壯麗篇章。他以教育家、鋼琴家、作曲家、指揮家和音樂學者的多重身份，深刻詮釋了教育家的使命與音樂的價值。他為臺灣的音樂教育奠定了深遠的基礎。蕭滋的藝術成就與教育貢獻，在奧地利、美國及臺灣音樂史中，都曾留下了明顯的足跡。充分展現了其世界公民的精神與卓越的教育家使命。此論文以歷史文獻的蒐集、整理，相關人士的訪談，蕭滋文稿及哲學論述的探討，著重於探討蕭滋的其1963年之後來臺灣樂壇，與吳漪曼攜手栽培出眾多享譽全球的鋼琴、指揮和理論作曲的音樂人才，至今仍具深遠影響並研究其教育理念。在音樂創作領域，由於蕭滋與胞兄海因茲（Heinz Scholz, 1897-1988）豐富的雙鋼琴演奏歷程為其歐洲時期的主軸，他更為雙鋼琴創作了三部各具獨特性的作品，並在音樂舞臺與胞兄親自演奏作品，包含《前奏聖詠、小賦格與觸技曲》(Prelude-Chorale、Fughetta Toccata for Two Pianos)取材自巴赫聖詠《因為亞當的墮落，一切都變壞了》(Durch Adams Fall ist ganz verderbt)，將十八世紀美學與二十世紀風格融合於組曲中。《B小調雙鋼琴協奏曲》(Concerto for 2 Pianos and Orchestra in b minor)展現蕭滋作為作曲家的創作深度。《東方組曲》(Oriental Suite)共有管弦樂與雙鋼琴兩個版本，蕭滋嘗試著融合東方伊斯蘭與西方技法，跨文化之世界觀，結合宗教與音樂元素，展現異國風情的藝術價值。此外，附錄整理蕭滋在臺灣鋼琴授課的珍筆畫記，包含蕭滋與海因茲共同校訂出版的「莫札特鋼琴奏鳴曲全集」環球版（Universal Edition）等8個版本。他的作品也為西方音樂史上稀少的雙鋼琴協奏曲目再添燦爛的一章，同時見證蕭滋為臺灣音樂史帶來的開花、結果。Robert Scholz (1902/03–1986), a self-proclaimed “world citizen,” was a Western musician who profoundly influenced Taiwan’s musical landscape. His life, an interwoven epic of self-learning and dedication, unfolds as a grand narrative from his birthplace in Steyr, Austria, to the global stage. As an educator, pianist, composer, conductor, and music scholar, Scholz embodied the mission of an educator and the intrinsic value of music. He exemplified the paradigm of education and dedication, advocating that education extends beyond the transmission of knowledge to the enlightenment of life itself, enabling students to transcend environmental limitations and engage with the international stage. His contributions laid a profound foundation for Taiwan’s music education.Scholz’s artistic achievements and educational contributions have left indelible marks on the music histories of Austria, the United States, and Taiwan. His broad humanistic vision and compositional philosophy, particularly in Taiwan’s music education, manifest his spirit as a world citizen and his commitment as an exceptional educator. This dissertation employs historical document collection and analysis, interviews with relevant figures, a study of Scholz’s manuscripts and philosophical discourses, as well as musical analysis and synthesis, to comprehensively examine his educational philosophy and compositional characteristics.Chapter Two explores the three significant phases of Scholz’s musical career and his profound influence on Taiwan’s music scene after 1963. Alongside Emane Wu-Scholz , he nurtured numerous globally renowned pianists, conductors, and composers, with his pedagogical philosophy and teachingmethods maintaining enduring influence. In the realm of composition, Scholz’s extensive dual-piano performance experiences with his brother Heinz Scholz (1897–1988) shaped his European period, leading to the creation of three new works for two pianos. Chapter Three examines"Prelude-Chorale, Fughetta, and Toccata for Two Pianos," which derives melodic material from J. S. Bach’s chorale “Durch Adams Fall ist ganz verderbt.” This work integrates 18th-century aesthetics with early 20th-century stylistic elements within a suite structure.Chapter Four analyzes the Concerto for Two Pianos in B minor, wherein the orchestral section demonstrates Scholz’s meticulous command of orchestral timbre and expressive tension, while the dual-piano section demands high-level technical proficiency and conveys deep artistic value. The work’s modern harmonic syntax and chromatic effects exemplify Scholz’s compositional depth. Chapter Five discusses the"Oriental Suite," which exists in both orchestral and two-piano versions. This work represents Scholz’s attempt to merge Eastern Islamic influences with Western techniques, embodying a cross-cultural worldview that fuses religious and musical elements with exotic artistic sensibilities. Chapter Six provides the conclusion. Additionally, the appendix includes Scholz’s handwritten notes from his piano teaching in Taiwan, alongside his and Heinz Scholz’s editorial contributions to the Universal Edition of Mozart’s Complete Piano Sonatas, among eight commonly referenced editions. These materials highlight his meticulous scholarly approach and his precise artistic interpretations of Mozart’s piano music. Through this dissertation’s study of Scholz’s life and three dual-piano compositions, it becomes evident that his creative output and pedagogical endeavors have significantly enriched Taiwan’s music education history, bearing fruit for future generations.