舒曼《四首賦格》作品72 與《七首小賦格形式的鋼琴曲》作品126 之分析與詮釋

Abstract

賦格 (fugue) 於 14 世紀時出現，經過長時間演變，在約翰・塞巴斯蒂安 ・巴赫 (Johann Sebastian Bach, 1685-1750) 時發展至巔峰，浪漫時期後更持 續變化，展現迷人新穎的面貌。賦格嚴謹清晰的架構與豐富的音樂層次，是 理性與感性的融合，它外在繁複的技巧輪廓與內在蘊含的感染力，讓音樂家 們為其著迷，並通過創作來表達對賦格的喜愛。舒曼 (Robert Schumann, 1810-1856) 為十九世紀浪漫派代表作曲家之一， 透過創作將他心中的音樂價值向世人推廣，作品展現他敏感矛盾的性格和豐 富細膩的情感。舒曼年輕時喜歡研讀巴赫的作品，極力向大眾推崇巴赫的賦 格作品，當他的健康與心靈經歷各種磨難後，晚年試圖從巴赫嚴密堅實的音 樂中尋求安定，更依賴對位創作來調整思緒，以求平衡理智與情感的矛盾。本文所探討的《四首賦格》(Vier Fugen, Op. 72) 及《七首小賦格形式的 鋼琴曲》(Sieben Klavierstücke in Fughettenform, Op. 126) 為舒曼晚期的賦格作 品，曲名直接使用賦格的􏰀詞簡單地表達作品的內容，形式上則透過賦格的 對位手法與音樂特色的結合，呈現優美多變的旋律線及內心雙重的性格對比， 兩組作品皆充滿舒曼獨特的音樂風格與真摯情感。本論文分為六個章節，希 望先透過探討賦格的背景與舒曼生平，來了解賦格對於舒曼的意義和影響， 接著透過樂曲的分析，深入理解兩組作品的架構和特色，並揣摩舒曼內心想 要傳達的情緒運用在演奏詮釋中，期望藉以更接近舒曼賦格作品欲表現的意 義。

Fugue first appeared in the fourteenth century. It came to its peak at the time of Johann Sebastian Bach (1685-1750) and continued to develop after Romanticism. Fugue’s rigorous structures and various music layers are the combination of rationality and sensibility. Musicians were fascinated by the external complicated techniques and the inner persuasive power. Therefore, these composers expressed their affection towards fugue through their works.Robert Schumann (1810-1856), one of the representative composer in Romanticism, displayed his ideal value of music through his compositions. These compositions expressed his sensitive character and delicate emotions. Schumann enjoyed studying Bach’s works when he was young, and promoted them to the public. After he suffered both mentally and physically, he managed to seek peace from Bach’s most rigorous pieces in the later years of his life. Schumann also depended on creating counterpoint compositions to clarify his thoughts and to balance the contradiction between rationality and sensibility.This essay discusses the meaning of Vier Fugen, op. 72 and Sieben Klavierstücke in Fughettenform, op. 126 as pieces of fugue from Schumann’s latter years. The titles were named after words in fugue to show the contents of the works. The forms were written with the combination of counterpoint and musical features from fugue, which presented graceful melodies and the comparison of double personalities. Both compositions had Schumann’s unique music style and sincere emotions. This essay is divided into six chapters, starting with the background information of fugue and Schumann for a better understanding of how the former affected the latter. The paper is followed by the analysis of both pieces to fully understand the structures and their features, to ponder the expression of Schumann’s thoughts while performing, and earnestly hope to approach the meaning behind Schumann’s compositions.