理查‧史特勞斯三部早期音詩《馬克白》、《唐璜》與《死與淨化》之幻化
Abstract
史特勞斯（Richard Strauss, 1864-1949）承襲李斯特（Franz Listz, 1811-1886）提出的交響詩理念，於十九世紀末將此樂種再次發揚光大。而《馬克白》（Macbeth）、《唐璜》（Don Juan）與《死與淨化》（Tod und Verklärung）是史特勞斯與音樂古典時期的絕對音樂交響曲背道而馳、初次踏入交響詩世界的作品。從史特勞斯的創作歷程來看，他前半輩子創作交響詩，中晚年專注於歌劇創作；音樂中的「戲劇」因子，則是史特勞斯從純器樂作品轉向至創作戲劇舞台作品的關鍵因素。
論文共分五章，分別從作品的形式、主題設計與管弦樂法等創作層面，探討史特勞斯灌注在早期三部「音詩」作品中蠢蠢欲動的戲劇創作思維；以及作曲家如何藉由音樂與文學結合的方式，讓表面看似堅固的奏鳴曲式一步步邁向瓦解。第一章從李斯特與史特勞斯的交響詩談起，而後探討史特勞斯創作生涯中，擺盪於交響詩與歌劇間的經歷，最後聚焦呈現在三部作品的創作時空背景；第二章至第四章，則分別詳盡探討三部作品本身的創作手法，及其與文學作品的關係；第五章為結論，提出奏鳴曲式框架中的音符，依然蘊含栩栩如生戲劇圖像之觀點。
Richard Strauss inherited the theory of symphonic poem brought by Liszt; he enhanced and glorified it in the end of nineteenth century. Macbeth, Don Juan, and Tod und Verklärung, three works composed by Strauss, deviate from the absolute music of classicism and enter into the world of symphonic poem for the first time. As for the Strauss’s composition career, he composed the works of symphonic poem in his first-half of life and then centered on composing opera in latter part of his life. It is the “theatrical” elements in music that reveal Strauss’s composition type from instrumental works to theatrical and stage works. In order to discuss Strauss’s thought on theatrical composing, which was perfused in the three “tone poems” of his early stages works, there are five chapters devoted in this thesis, each from different aspects of analyzing the form of work, the design of music theme, and instrumentation. Besides, this thesis also reveals how the composer made the seemingly hard structure of sonata form disintegrated step by step by examining the ways of combining music with literature. Chapter One starts from the views on the symphonic poems of Liszt and Strauss, it then discusses Strauss’s the composing experience swaying between the orchestral music and opera. Finally, it focus on the composing background of the three works mentioned above. From Chapter Two to Four, it represents detailing on the composing method of music itself and its relationship with literature. Chapter Five is conclusion, bringing out the view that there are still plenty vivid theatrical images in the frame of sonata form.
Richard Strauss inherited the theory of symphonic poem brought by Liszt; he enhanced and glorified it in the end of nineteenth century. Macbeth, Don Juan, and Tod und Verklärung, three works composed by Strauss, deviate from the absolute music of classicism and enter into the world of symphonic poem for the first time. As for the Strauss’s composition career, he composed the works of symphonic poem in his first-half of life and then centered on composing opera in latter part of his life. It is the “theatrical” elements in music that reveal Strauss’s composition type from instrumental works to theatrical and stage works. In order to discuss Strauss’s thought on theatrical composing, which was perfused in the three “tone poems” of his early stages works, there are five chapters devoted in this thesis, each from different aspects of analyzing the form of work, the design of music theme, and instrumentation. Besides, this thesis also reveals how the composer made the seemingly hard structure of sonata form disintegrated step by step by examining the ways of combining music with literature. Chapter One starts from the views on the symphonic poems of Liszt and Strauss, it then discusses Strauss’s the composing experience swaying between the orchestral music and opera. Finally, it focus on the composing background of the three works mentioned above. From Chapter Two to Four, it represents detailing on the composing method of music itself and its relationship with literature. Chapter Five is conclusion, bringing out the view that there are still plenty vivid theatrical images in the frame of sonata form.
Description
Keywords
史特勞斯, 交響詩, 音詩, 馬克白, 唐璜, 死與淨化, Richard Strauss, symphonic poem, tone poem, Macbeth, Don Juan, Tod und Verklärung, Death and Transfiguration