李斯特的《一首浮士德交響曲》：交響曲還是交響詩？

Abstract

在威瑪的十二年間(1848至1860年)，李斯特(Franz Liszt, 1811-1886)共創作十二首交響詩和兩部交響曲，他的交響詩與交響曲在形式上有明確的區別，但兩者均與文學或其他藝術相連結，都是具詩意訴求的管絃樂作品。 李斯特在《一首浮士德交響曲》(Eine Faust-Symphonie, 1854)中，以主題(theme)描繪〈浮士德〉(Faust)、〈葛麗卿〉(Gretchen)和〈梅菲斯特〉(Mephistopheles)的形象，並將他擅長的主題變形技巧發揮得淋漓盡致，透過主題的運用，傳達這三位主角複雜多樣的個性及彼此的關係。主題將各樂章聯繫，讓多樂章的交響曲緊密結合成一個整體，就如同單樂章的效果，交響曲與交響詩的界限也因此變得模糊。本論文針對《一首浮士德交響曲》的曲式和主題素材做分析，探討李斯特是如何架構起這部三樂章的標題交響曲，並討論這部作品與交響詩產生的聯繫。

Franz Liszt (1811-1886) completed 12 symphonic poems and 2 symphonies during the 12 years (1848-1860) he was in Weimar. There is a significant difference in musical form between his symphonic poems and his symphonies, but both tended to be inspired by literature or other arts, essentially orchestral works with poetic appeal.

In Eine Faust-Symphonie, Liszt utilized different themes to depict the images of Faust, Gretchen, and Mephistopheles through fully elaborate thematic transformations, a technique he had already mastered. He conveyed the three characters’ complicated and diverse personalities along with their mutual relationships via the application of themes. The themes connect movements thereby strengthening the unity of the work as a whole which can reflect as the structure of a single movement. Consequently, the boundary between symphony and symphonic poem is ambiguous. Thus we shall analyze the musical form and thematic material in Eine Faust-Symphonie, explore how Liszt constructed the three-movement program symphony, and further discuss the association between this symphony and his symphonic poems.