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以包文《第一號中提琴奏鳴曲》為例york Bowen's Sonata for Viola

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以包文《第一號中提琴奏鳴曲》為例york Bowen's Sonata for Viola 東海大學音樂系碩士班 畢業製作 論述包文與泰悌斯的合作關係： 以包文《第一號中提琴奏鳴曲》為例 York Bowen’s Sonata for Viola and Piano No. 1 Op. 18 as Collaboration with Lionel Tertis 研究生：吳佳螢 指導教授：李奉書 博士 中華民國一○六年六月 東海大學音樂系碩士班畢業製作 研究生: 吳佳螢 論述包文與泰悌斯的合作關係: 以色文《第一號中提琴奏鳴曲》為例 YUrkBU〝氣n、 SUnatafUrViUlaandPianUNU.1Up.18 asCUIlabUratiUnwithLiUnelTcrtis 本畢業製作業經審查及評鑑合格特此證明 畢業製作考試委 員 牠f縵 驏蓷 黃譯萱 多多;舅鼲↗ζ 徐晨又 中華民國一○六年六月 摘要 本論文以作曲家約克．包文 (York Edwin Bowen, 1884-1961) 的《第一號中 提琴奏鳴曲》(1905)爲例，探討包文與當代中提琴家昂納爾．泰悌斯 (Lionel Tertis, 1876-1975) 的合作關係；以及此作品於浪漫後期至現代樂派 (二十世紀中) 這 段期間，在中提琴奏鳴曲這個樂類中的獨特之處。此曲是包文爲泰悌斯量身訂 作，亦可看作兩人的合作成果，本論文嘗試從三個面向對此曲進行闡述。首先 以兩位藝術家的生平，兩人的合作過程，與相關研究文獻進行回顧與爬梳；其 次依序詳細析論此作品各樂章的結構，並將其結構、風格與布拉姆斯 (Johannes Brahms, 1833-1897)、亨德密特 (Paul Hindemith, 1895-1963) 的中提琴奏鳴曲進 行比較，論證其同、異之處；最後則聚焦於泰悌斯的演奏風格與他在中提琴演 奏上慣用的技巧，並將此運用於這首作品的分析和詮釋。 關鍵字：包文、泰悌斯、包文《第一號中提琴奏鳴曲》、 布拉姆斯、亨德密特、 抖音(Vibrato)、滑音(Portamento)。 iii 目錄 摘要 ............................................................................................................................. iii 第一章 緒論 .......................................................................................................... 1 第一節 主題研究、目的 .............................................................................. 1 第二節 研究範圍與方法 .............................................................................. 2 第二章 生平與文獻回顧 ...................................................................................... 3 第一節 包文與泰悌斯 .................................................................................. 3 第二節 文獻回顧 .......................................................................................... 7 第三章 樂曲分析 ................................................................................................ 11 第一節 第一樂章 ........................................................................................ 12 第二節 第二樂章 ........................................................................................ 20 第三節 第三樂章 ........................................................................................ 27 第四章 作品比較、樂曲詮釋與演奏技巧 ........................................................ 37 第一節 作品比較 ........................................................................................ 37 第二節 樂曲詮釋與演奏技巧 .................................................................... 42 第五章 結論、未來研究走向 ............................................................................ 51 參考文獻 .................................................................................................................... 53 附錄 音樂會節目單 .................................................................................................. 56 iv 附譜目次 【譜例 1】包文，《第一號中提琴奏鳴曲》，第一樂章第 3-4 小節……………..13 【譜例 2】包文，《第一號中提琴奏鳴曲》，第一樂章第 11-19 小節…...……...13 【譜例 3】包文，《第一號中提琴奏鳴曲》，第一樂章，第 27-31 小節..............14 【譜例 4】包文，《第一號中提琴奏鳴曲》，第一樂章，第 31-70 小節.........….15 【譜例 5】包文，《第一號中提琴奏鳴曲》，第一樂章，第 86-87 小節..............16 【譜例 6】包文，《第一號中提琴奏鳴曲》，第一樂章，第 91-103 小節………16 【譜例 7】包文，《第一號中提琴奏鳴曲》，第一樂章，第 103-120 小節……..17 【譜例 8】包文，《第一號中提琴奏鳴曲》，第一樂章，第 108-116 小節……..18 【譜例 9】包文，《第一號中提琴奏鳴曲》，第一樂章，第 178-193 小節……..19 【譜例 10】包文，《第一號中提琴奏鳴曲》，第一樂章，第 213-216 小節........19 【譜例 11】包文，《第一號中提琴奏鳴曲》，第二樂章，第 1-17 小節........…..21 【譜例 12】包文，《第一號中提琴奏鳴曲》，第二樂章，第 25-31 小節............21 【譜例 13】包文，《第一號中提琴奏鳴曲》，第二樂章，第 43-58 小節.....…...22 【譜例 14】包文，《第一號中提琴奏鳴曲》，第二樂章，第 59-62 小節......…..23 【譜例 15】包文，《第一號中提琴奏鳴曲》，第二樂章，第 65-68 小節...…….23 【譜例 16】包文，《第一號中提琴奏鳴曲》，第二樂章，第 101-108 小節........23 【譜例 17】包文，《第一號中提琴奏鳴曲》，第二樂章，第 109-119 小節........24 【譜例 18】包文，《第一號中提琴奏鳴曲》，第二樂章，第 115-119 小節........25 【譜例 19】包文，《第一號中提琴奏鳴曲》，第二樂章，第 149-163 小節...….25 【譜例 20】包文，《第一號中提琴奏鳴曲》，第二樂章，第 189-197 小節........26 v 【譜例 21】包文，《第一號中提琴奏鳴曲》，第二樂章，第 188 -215 小節.......26 【譜例 22】包文，《第一號中提琴奏鳴曲》，第三樂章，第 1-17 小節........…..28 【譜例 23】包文，《第一號中提琴奏鳴曲》，第三樂章，第 40 -52 小節......….29 【譜例 24】包文，《第一號中提琴奏鳴曲》，第三樂章，第 55-65 小節.....…...29 【譜例 25】包文，《第一號中提琴奏鳴曲》，第三樂章，第 78-86 小節............30 【譜例 26】包文，《第一號中提琴奏鳴曲》，第三樂章，第 114-153 小節........30 【譜例 27】包文，《第一號中提琴奏鳴曲》，第三樂章，第 154-159 小節........31 【譜例 28】包文，《第一號中提琴奏鳴曲》，第三樂章，第 165-176 小節........31 【譜例 29】包文，《第一號中提琴奏鳴曲》，第三樂章，第 177-187 小節........31 【譜例 30】包文，《第一號中提琴奏鳴曲》，第三樂章，第 222-240 小節........33 【譜例 31】包文，《第一號中提琴奏鳴曲》，第三樂章，第 279-283 小節……33 【譜例 32】包文，《第一號中提琴奏鳴曲》，第三樂章，第 302-316 小節........34 【譜例 33】包文，《第一號中提琴奏鳴曲》，第三樂章，第 347-395 小節........35 【譜例 34】亨德密特，《第四號中提琴奏鳴曲》，第二樂章，第 1-8 小節……40 【譜例 35】亨德密特，《第四號中提琴奏鳴曲》，第二樂章，第 65-82 小節…40 【譜例 36】包文，《第一號中提琴奏鳴曲》，第一樂章，第 46-65 小節............40 【譜例 37】布拉姆斯，《第二號中提琴奏鳴曲》，第二樂章，第 119-140 小節……..41 【譜例 38】布拉姆斯，《第二號中提琴奏鳴曲》，第二樂章，第 1-5 小節……41 【譜例 39】包文，《第一號中提琴奏鳴曲》，第三樂章，第 288-315 小節……42 【譜例 40】包文，《第一號中提琴奏鳴曲》，第三樂章，第 275-281 小節……43 【譜例 41】包文，《第一號中提琴奏鳴曲》，第三樂章，第 214-221 小節........44 【譜例 42】包文，《第一號中提琴奏鳴曲》，第三樂章，第 331-341 小節........44 【譜例 43】包文，《第一號中提琴奏鳴曲》，第一樂章，第 24-30 小節............44 vi 【譜例 44】包文，《第一號中提琴奏鳴曲》，第一樂章，第 206-212 小節........45 【譜例 45-1】包文，《第一號中提琴奏鳴曲》，第一樂章，第 46-59 小節..........47 【譜例 45-2】包文，《第一號中提琴奏鳴曲》，第二樂章，第 18-25 小節.........47 【譜例 45-3】包文，《第一號中提琴奏鳴曲》，第二樂章，第 188-196 小節......47 【譜例 46-1】包文，《第一號中提琴奏鳴曲》，第一樂章，第 31-38 小節..........47 【譜例 46-2】包文，《第一號中提琴奏鳴曲》，第一樂章，第 176-182 小節......48 【譜例 47】包文，《第一號中提琴奏鳴曲》，第二樂章，第 18-25 小節...............48 【譜例 48-1】包文，《第一號中提琴奏鳴曲》，第一樂章，第 66-70 小節.............49 【譜例 48-2】包文，《第一號中提琴奏鳴曲》，第二樂章，第 147-172 小節.........50 vii 附表目次 【表一】包文，《第一號中提琴奏鳴曲》全曲樂曲分析……..............................11 【表二】包文，《第一號中提琴奏鳴曲》之第一樂章曲式…………..…………12 【表三】包文，《第一號中提琴奏鳴曲》之第二樂章曲式表..............................20 【表四】包文，《第一號中提琴奏鳴曲》之第三樂章曲式表..............................27 【表五】布拉姆斯，《第一號中提琴奏鳴曲》全曲樂曲分析…………………..38 【表六】布拉姆斯，《第二號中提琴奏鳴曲》全曲樂曲分析…………………..39 viii 第一章 緒論 第一節 研究主題、目的 本論文探討英國作曲家約克．包文 (York Edwin Bowen, 1884-1961) 與當代 中提琴演奏家昂納爾．泰悌斯 (Lionel Tertis, 1876-1975) 的合作關係，筆者主要 的範例為包文的《第一號中提琴奏鳴曲》(Sonata No. 1 in C Minor for Viola and Piano, Op. 18)。 泰悌斯是與包文密切合作的重要演奏家之一，除了上述的《第一號中提琴 奏鳴曲》外，包文代表性的中提琴作品為第二號中提琴奏鳴曲 (Sonata No. 2 in C Minor for Viola and Piano, Op. 22)、一首中提琴協奏曲 (Concerto for Viola and Orchestra in C Minor, Op. 25)，和給四把中提琴的四重奏 (Fantasie Quartet for Four Violas)，此四首都是獻給泰悌斯的作品。 包文《第一號中提琴奏鳴曲》的寫作年代為二十世紀初 (1905 年)，當代人 尚未完全能夠接受中提琴替代小提琴作為獨奏樂器。泰悌斯提高中提琴在古典 音樂的水準，將中提琴作為主流樂器，同時擴展此樂器現有的曲目。他並透過 較大尺寸的中提琴 (通稱 Tertis Model Viola) 及演奏家的技術，致力改變中提琴 1 的音色。1 泰悌斯曾與許多作曲家合作，而在本文中，筆者將著重於他與包文為 推廣中提琴作為獨奏樂器，在 1905-1907 年間為中提琴擴充曲目所做的努力； 並透過具體的例證，闡述包文在這首奏鳴曲中，使之提升為主流樂器的創作意 圖。 第二節 研究範圍與方法 筆者將先對包文與泰悌斯的生平及合作關係進行介紹，再以文獻回顧探討 學者們對兩位音樂家的合作關係以及對中提琴的貢獻，最後以包文獻給泰悌斯 的《第一號中提琴奏鳴曲》為中心，進行分析與比較。本論文分為四章，包含本 論文主題簡介、研究範圍與方法 (第一章)、包文及泰悌斯的生平介紹，及本論 文相關文獻回顧 (第二章)、包文《第一號中提琴奏鳴曲》的樂曲分析 (第三章)、 此奏鳴曲與布拉姆斯、亨德密特同樂類的風格比較，及此奏鳴曲的詮釋及演奏 技巧 (第四章)。 1 Renate Marie Falkner. York Bowen’s Viola Music Reconsidered within the Context of the English Renaissance (1860-1940) Diss. The Florida State University Press, 2014, 26-27. 2 第二章 生平與文獻回顧 第一節 包文與泰悌斯 壹、包文的生平 約克·包文 (York Edwin Bowen, 1884-1961)，生於英國倫敦。年幼時期即進 入 North Metropolitan College of Music 開始他的音樂教育，十二歲時就讀於布萊 克希斯音樂學院 (Blackheath Conservatorie of Music) 並開始學習鋼琴。1903 年 受邀在皇后音樂廳 (Queen’s Hall) 演出他自己的第一號鋼琴協奏曲，由亨利．伍 德 (Henry Wood, 1869-1944) 擔任指揮；在當時聖桑 (Saint-Saëns, 1835-1921) 聽 到他的演出後稱讚他是「英國最傑出的年輕作曲家」。2 包文在 1905 年完成學業後，開始以作曲家及鋼琴家身分積極追尋他的事業 生涯，並演出他自己的第二號和第三號鋼琴協奏曲。1907 年在皇家音樂院 (Royal Academy of Music) 兼任教學，兩年後任職為鋼琴教授。1914 年第一次世 界大戰結束後，他任教於 Tobias Matthay Piano School 四十幾年，也同時在皇家 音樂院任教直到 1961 年逝世。 2 Monica Watson. York Bowen: A Centenary Tribute. London: Thomas, 1984, 9. 3 包文除了是成功的鋼琴家與作曲家之外，也精通法國號、管風琴及中提琴； 就讀皇家音樂院期間，曾經和好友班傑明．戴爾 (Benjamin Dale, 1885-1943) 共 同演出法國號獨奏會──戴爾也因包文的關係結識了昂納爾．泰悌斯 (Lionel Tertis, 1876-1975)，更曾為泰悌斯寫過中提琴作品。3 包文首演過許多自己的作 品──例如他的四首鋼琴協奏曲都是由自己所首演；其它的器樂曲則有時與知 名的演奏家一起演出，例如：昂納爾．泰悌斯、佛里茲．克萊斯勒 (Fritz Kreisler, 1875-1962)、約瑟夫．席格悌 ( Joseph Szigeti, 1892-1973)等人，都是他曾經合作 演出的對象。 由於包文在就讀皇家音樂院時即已結識泰悌斯，故而兩人的合作很早便已 開始。1903 年他們是首次一同演出；後來在他們頻繁合作演出的時期，包文創 作許多中提琴曲目並獻給泰悌斯，例如：第一號中提琴奏鳴曲、第二號中提琴 奏鳴曲和唯一的一首中提琴協奏曲。兩首中提琴奏鳴曲是包文與泰悌斯最早合 作的作品；1905 年四月，他和泰悌斯在英國伊奧利安音樂廳 (Aeolian Hall) 首 演第一號中提琴奏鳴曲；1908 年泰悌斯首演包文的中提琴協奏曲也大獲好評。 4 第一次世界大戰的前十年是包文創作產量巔峰的時期，特別是中提琴的曲 目。包文在世時顯然成功出名，雖然創作超過一百六十首的作品，但在他逝世 前仍有許多作品尚未出版。中提琴的作品於生前出版的，僅有上述兩首奏鳴曲， 分別於 1907 年和 1911 年出版，但這兩首作品只有他在世時受到歡迎，去世後 便逐漸被世人淡忘。5 3 Renate Marie Falkner. “York Bowen’s Viola Music Reconsidered within the Context of the English Musical Renaissance (1860-1940)” Diss. The Florida State University, 2014, 26-27. 4 同前註，22。 5 Amanda Wilton. “York Bowen’s Three Viola and Piano Masterworks for Lionel Tertis.” Diss. University of Houston, 2014, 48-51. 4 貳、泰悌斯的生平 昂納爾．泰悌斯 (Lionel Tertis, 1876-1975) 生於英國的猶太家庭，1892 年進 入三一音樂院 (Trinity College of Music) 學習和聲、鋼琴與小提琴；1895 年成 為皇家音樂院 (Royal Academy of Music) 的學生，與漢斯．威斯利 (Hans Wessely, 1862-1926) 學習小提琴。 就讀皇家音樂院期間，受到珀西希爾德·邁爾斯 (Percy Hilder Miles, 1878- 1922) 邀請在他的絃樂四重奏擔任演奏中提琴。泰悌斯因中提琴特別深沉的音 色，自始之後逐漸對這種樂器產生濃厚興趣，並積極推動這把在眾多弦樂中受 到埋沒的樂器。當時在音樂院沒有人能指導中提琴，他幾乎是自學及依靠聆聽 許多優秀的弦樂演奏家，並透過嘗試來辨別中提琴不同的音色。畢業後他進入 皇后音樂廳管弦樂團 (Queen’s Hall Orchestra)，起初在第二部小提琴演奏，後來 因為指揮家伍德聆聽他的演奏，而轉任中提琴首席。6 1901 年泰悌斯被委任為皇家音樂院的中提琴教授，在音樂院裡接觸到許多 主修作曲的英國學生，例如：班傑明．戴爾、阿諾德．巴克斯 (Arnold Bax, 1883- 1953)、阿瑟．布利斯 (Arthur Bliss, 1891-1975) 和弗蘭克．布里奇 (Frank Bridge, 1897-1941)，都在他的鼓勵之下為中提琴寫下原創曲目。泰悌斯曾經積極詢問而 答應他為中提琴創作的作曲家，包括：愛德華．艾爾加 (Edward Elgar, 1857-1934)、 恩斯特．多赫南尼 (Ernst von Dohnányi, 1877-1960)、菲德烈克·戴流士 (Frederick Delius, 1862-1934)，他們雖然沒有創作中提琴的作品，但允許泰悌斯改編他們的 作品，例如：泰悌斯改編艾爾加的大提琴協奏曲，由艾爾加指揮共同演出。同年 泰悌斯第一次聽到克萊斯勒演奏布拉姆斯的小提琴協奏曲，形容「就像墜入愛 6 Amanda Wilton. “York Bowen’s Three Viola and Piano Masterworks for Lionel Tertis.” Diss. University of Houston, 2014, 6. 5 河」 (For me the experience of hearing him was like falling in love.)。7 克萊斯勒和 尤金．伊薩意 (Eugène Ysaÿe, 1858-1931) 演奏時抖音的音色使泰悌斯有新的想 法，尤其是克萊斯勒抖音的音色；泰悌斯將他們兩位的抖音特色結合後，為中 提琴創造出一個持續抖音的概念。8 1904 年泰悌斯向皇后音樂廳管弦樂團辭職後，以中提琴演奏家身分積極推 動這種樂器，提高演奏標準且開創中提琴新的技巧；特別是弓法和指法，在選 擇上都反映出他理想的聲響──這兩個問題根據阿曼達．威爾頓 (Amanda Wilton) 的說法，在小提琴上則較不受關注。另外因中提琴身形太小導致 C 弦發 音不容易，他投入設計改良開發新的中提琴，期望讓中提琴能夠被接受作為獨 奏樂器。9 1937 年起泰悌斯與製琴師阿瑟‧李查德森 (Arthur
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