斯克里亞賓《二十四首前奏曲》作品11之分析與詮釋

Abstract

亞歷山大．斯克里亞賓 (Alexander Scriabin, 1872-1915) 為十九世紀至二十世紀的俄羅斯音樂家，其作品前期受浪漫樂派影響，而中後期則致力將哲學和詩融入其作品中。本論文所探討的《二十四首鋼琴前奏曲，作品11》 (24 Preludes for Piano, Op. 11) 為斯克里亞賓創作之早期作品，共有二十四首前奏曲，包含二十四個大小調，並以關係大小調及調性依序上升五度的順序排列。這部作品大多在斯克里亞賓歐洲巡迴演出時所作，每首前奏曲皆標示出樂曲被建議的演奏速度、作曲時間及地點。此時期他欣賞並研讀蕭邦 (Frédéric Chopin, 1810-1849) 、李斯特 (Franz Liszt, 1811-1886) 和華格納 (Richard Wagner, 1813-1883) 等音樂家的作品；在斯克里亞賓早期的作品中，更能發現他特別受到蕭邦在曲種、曲式和風格等的影響 。本論文希望透過斯克里亞賓《二十四首前奏曲，作品11》的研究，了解他前期的創作風格，並藉由每首樂曲的分析，剖析各首前奏曲的曲式、動機、織度、和聲等手法，並在詮釋的速度、觸鍵和踏板上統整，給予演奏者參考之建議。Alexander Scriabin (1872-1915) was a Russian musician, whose works were influenced by the Romanticism in his early stage. While in the middle and late periods, he devoted himself to integrating philosophy and poetry into his work.This essay focuses on the features of Twenty-Four Preludes Op. 11 and presents the work based on the twenty-four keys, and being arranged by the technique of relative key and circle of fifths. This work was composed mostly during Scriabin's European tour, and each prelude was marked with suggested tempo, written time and place. During this period, Scriabin admired musicians such as Frédéric Chopin (1810-1849), Franz Liszt (1811-1886) and Richard Wagner (1813-1883); he was influenced by these musicians in the genre, form and style, especially Chopin. This essay makes a study of Scriabin's Twenty-Four Preludes Op. 11 by analyzing of each piece, in order to understand the musical form, motive, and texture of each prelude. By research on tempi, piano touch, and pedalings, this essay hopefully can share the suggestions and perception for the performers.