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國立臺灣師範大學音樂學系碩士在職專班演奏組詮釋報告national Taiwan

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國立臺灣師範大學音樂學系碩士在職專班演奏組詮釋報告 National Taiwan Normal University Department of Music In-service Master's Program for Performance 碩士論文 伯恩哈德．庫魯賽爾《第一號單簧管協奏曲》之樂曲分析與演奏詮釋 An Analysis and Interpretation of Concerto for Clarinet and Orchestra Op.1 No.1 by Bernhard Crusell 指導教授：宋威德 教授 Thesis supervisor : Professor Wei-Te Sung 研究生：薛淨文 Graduate student : Ching-Wen Hsueh 中華民國 107 年 7 月 July, 2018 摘要 庫魯賽爾(Bernhard Crusell,1775-1838)的作品為古典時期單簧管協奏曲經典曲 目之一，筆者以作曲家《第一號單簧管協奏曲》(Clarinet Concerto Op.1 No.1 )來 探討也是身為單簧管演奏家的庫魯賽爾，如何將單簧管演奏技法安排於此作品 中，並藉由樂曲分析與古典風格音樂特色相互對照，進一步整理出筆者認為比較 接近作曲家原意的演奏詮釋。 此論文著重於庫魯賽爾的生平、樂曲分析及演奏詮釋，透過曲式的分析，知悉 導奏、主題動機及樂句發展之間的關聯性，希望藉此作為樂者演奏古典時期協奏 曲的參考書目之一，進而增加樂者演奏時音樂之流暢性。 關鍵字：庫魯賽爾、單簧管、協奏曲 i Abstract The works of Bernhard Crusell (1775-1838) are regarded as the classics of Clarinet Concerto in Classical Period. The author discussed how Bernhard Crusell, a concertist of clarinet and composer, used the skills for clarinet concerto into the work, Clarinet Concerto Op.1 No.1. Meanwhile, contrasting the analysis of composition with the characteristics of classical music, the original performance interpretation will be clearly understood further. The thesis will focus on Bernhard Crusell’s biographical data, analysis of composition, and performance interpretation. Through analysis of form in music, the author wants to find out the relevance among the introduction, motivation, and development of musical sentences. The production of outcome will be expected to be one of the references and also increase the fluency for musical players playing concerto in Classical Period. Keywords: Crusell、Clarinet、Concerto ii 目錄 中文摘要..................................................................................................................................i 英文摘要..................................................................................................................................ii 目錄..........................................................................................................................................iii 譜例目錄..................................................................................................................................iv 第一章 緒論.........................................................................................................................1 第一節 研究動機與目的.................................................................................................1 第二節 研究範圍與方法.................................................................................................3 第二章 作曲家生平與樂曲介紹.................................................................................4 第一節 作曲家生平.....................................................................................................4 第二節 時代背景與樂曲風格....................................................................................7 第三章 樂曲分析與演奏詮釋......................................................................................9 第一節 第一樂章 快板...............................................................................................9 第二節 第二樂章 慢板.............................................................................................44 第三節 第三樂章 稍快的輪旋曲............................................................................50 第四章 結語......................................................................................................................68 參考書目..............................................................................................................................70 iii 譜例目錄 《譜例 3-1-1》......................................................................................................10 《譜例 3-1-2》......................................................................................................11 《譜例 3-1-3》......................................................................................................13 《譜例 3-1-4》......................................................................................................14 《譜例 3-1-5》......................................................................................................15 《譜例 3-1-6》......................................................................................................17 《譜例 3-1-7》......................................................................................................18 《譜例 3-1-8》......................................................................................................19 《譜例 3-1-9》......................................................................................................20 《譜例 3-1-10》....................................................................................................22 《譜例 3-1-11》....................................................................................................23 《譜例 3-1-12》....................................................................................................24 《譜例 3-1-13》....................................................................................................26 《譜例 3-1-14》....................................................................................................28 《譜例 3-1-15》....................................................................................................30 《譜例 3-1-16》....................................................................................................31 《譜例 3-1-17》....................................................................................................32 《譜例 3-1-18》....................................................................................................34 《譜例 3-1-19》....................................................................................................35 《譜例 3-1-20》....................................................................................................37 《譜例 3-1-21》....................................................................................................39 《譜例 3-1-22》....................................................................................................40 《譜例 3-1-23》....................................................................................................41 《譜例 3-1-24》....................................................................................................43 《譜例 3-2-1》......................................................................................................45 《譜例 3-2-2》......................................................................................................46 《譜例 3-2-3》......................................................................................................47 《譜例 3-2-4》......................................................................................................48 《譜例 3-2-5》......................................................................................................49 《譜例 3-3-1》......................................................................................................52 《譜例 3-3-2》......................................................................................................54 《譜例 3-3-3》......................................................................................................55 《譜例 3-3-4》......................................................................................................56 《譜例 3-3-5》......................................................................................................58 《譜例 3-3-6》......................................................................................................60 《譜例 3-3-7》......................................................................................................61 iv 《譜例 3-3-8》......................................................................................................63 《譜例 3-3-9》......................................................................................................64 《譜例 3-3-10》....................................................................................................66 v 第一章 緒論 第一節 研究動機與目的 筆者學習單簧管至今演奏過許多作品，以往演奏時除了演奏技巧的展現外，對 於樂句的處理及音色變化上往往未能深入，藉由此次進一步探討樂句架構，以及 演奏力度與音色上之詮釋，赫然發現這些筆者以往所忽略的要素，是能夠為音樂 增添不少豐富性的重要關鍵。 伯恩哈德．庫魯賽爾 (Bernhard Crusell,1775-1838 )為古典時期橫跨浪漫時期初 期的芬蘭作曲家及單簧管演奏家，創作的作品種類有協奏曲、室內樂、聲樂及歌 劇，管樂與樂團協奏的部份有七首1，跟單簧管有關的有五首，其中第一號、二號 及三號的三首單簧管協奏曲，也成為繼沃夫岡．阿瑪迪斯．莫札特 2(Wolfgang Amadeus Mozart )所創作的《A 大調單簧管協奏曲》(Clarinet Concerto in A Major,KV.622)後，古典時期經典的單簧管協奏曲目。 1《降 E 大調第 1 號單簧管協奏曲》(Clarinet Concerto in E- flat Major No.1, Op.1) ,1808 年所創作 《F 小調第 2 號單簧管協奏曲》(Clarinet Concerto in F minor No.2, Op.5) ,1815 年所創作 《降 B 大調第 3 號單簧管協奏曲》(Clarinet Concerto in B flat Major No.3,Op.11), 1828 年所創作 《降 B 大調交響協奏曲》(Sinfonia Concertante in B-flat Major, for Clarinet, Horn, Bassoon and Orchestra, Op. 3),1804 年所創作 《降 B 大調巴松管小協奏曲》(Concertino in B-flat Major, for Bassoon and Orchestra ),1829 年所 創作 《給單簧管及管弦樂團的導奏與變奏》(Introduction and Variations for Clarinet and Orchestra, Op. 12 ),1804 年所創作 《給低音管與管弦樂團》(Airs Suedois for Bassoon and Orchestra ),1814 年所創作 2 莫札特(Wolfgang Amadeus Mozart )1756-1791, 為古典時期奧地利作曲家 1 庫魯賽爾所創作的單簧管作品，是單簧管演奏者在學習歷程中經常會演奏到 的曲目，筆者探討的《第一號單簧管協奏曲》，雖然沒有過多複雜的演奏技巧， 但是可以藉由樂曲分析及詮釋，進一步熟悉古典時期協奏曲的框架，以及如何善 用單簧管的演奏技巧，在協奏曲中巧妙詮釋樂句的力度、速度及音色變化，也藉 此機會，瞭解庫魯賽爾在單簧管協奏曲作品中，常用的創作手法。 2 第二節 研究範圍與方法 本文透過分析《第一號單簧管協奏曲》的三個樂章，探討古典時期協奏曲 之基本架構、主題動機與樂句發展之關聯性，藉由樂曲速度、力度及術語，揣 摩作曲家創作原意，運用在演奏詮釋之中｡ 此曲原本是庫魯賽爾為單簧管及管弦樂團所作，而筆者所分析的則為單簧 管與鋼琴的版本，並參考三個樂譜版本3對於力度及樂句安排，進行分析與詮 釋，探討此曲演奏技巧、樂句劃分、換氣、音樂流暢度等表現，文中單簧管之 譜例、文字註解，皆以記譜音說明之｡ 筆者透過作曲家傳記、音樂期刊、樂譜及作品創作等相關文獻來認識作曲 家，研究庫魯賽爾的生平與樂曲風格，並藉由欣賞作曲家的其他室內樂作品來 了解其創作風格，同時也透過聆賞庫魯賽爾相關的器樂作品，進一步整理出筆 者認為較理想的演奏詮釋｡ 3 分別是 Universal Edition for Clarinet and Piano by Pamela Weston , printed in Hungary
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    BÄRENREITER URTEXT offering the best CZECHMUSIC of Czech music BÄRENREITER URTEXT is a seal of quality assigned only to scholarly-critical editions. It guarantees that the musical text represents the current state of research, prepared in accordance with clearly defined editorial guidelines. Bärenreiter Urtext: the last word in authentic text — the musicians’ choice. Your Music Dealer SPA 314 SPA SALES CATALOGUE 2021 /2022 Bärenreiter Praha • Praha Bärenreiter Bärenreiter Praha | www.baerenreiter.cz | [email protected] | www.baerenreiter.com BÄRENREITER URTEXT Other Bärenreiter Catalogues THE MUSICIAN ' S CHOICE Bärenreiter – Bärenreiter – The Programme 2019/2020 Das Programm 2018/2019 SPA 480 (Eng) SPA 478 (Ger) Bärenreiter's bestsellers for The most comprehensive piano, organ, strings, winds, catalogue for all solo chamber ensembles, and solo instruments, chamber music voice. It also lists study and and solo voice. Vocal scores orchestral scores, facsimiles and study scores are also and reprints, as well as books included. on music. Bärenreiter – Bärenreiter – Bärenreiter Music for Piano 2019/2020 Music for Organ Music for Organ 2014/2015 SPA 233 (Eng) 2014/2015 SPA 238 (Eng) Bärenreiter's complete Urtext Bärenreiter's Urtext programme for piano as well programme for organ as well as all educational titles and as collections and series. collections for solo and piano You will also find jazz works, four hands. Chamber music transcriptions, works for with piano is also listed. Your Music Dealer: organ and voice, as well as a selection of contemporary music. Bärenreiter-Verlag · 34111 Kassel · Germany · www.baerenreiter.com · SPA 238 MARTINŮ B Ä R E N R E I T E R U R T E X T Bärenreiter – Bärenreiter – Music for Strings 2018/2019 Choral Music 2018/2019 Nonet č.
  • Clarinet Concertos Clarinet

    Clarinet Concertos Clarinet

    Clarinet 14CD Concertos 95787 ClaRINet Concertos 14CD CD1 Molter Concertos Nos. 1–5 CD9 Mercadante Concertino Concertos Nos. 1 & 2 CD2 Spohr Concertos Nos. 1 & 4 Sinfonia concertante No.3 CD3 Spohr Concertos Nos. 2 & 3 CD10 Hoffmeister Concerto CD4 Mozart Concerto in A K622 Sinfonie concertanti Nos. 1 & 2 Bruch Clarinet & Viola Concerto CD11 Baermann Concertstück in G minor CD5 Weber Concertino Clarinet Concertinos Opp. 27 & 29 Concertos Nos. 1 & 2 Sonata No.3 in D minor/F Busoni Concertino CD12 Finzi Concerto CD6 Crusell Concertos Nos. 1–3 Stanford Concerto Copland Concerto (1948 version) CD7 Krommer Concerto Op.36 Double Concertos Opp. 35 & 91 CD13 Nielsen Concerto Tansman Concerto Stamitz CD8 Concerto No.1 Hindemith Concerto Double Concerto Clarinet & Bassoon Concerto CD14 Rietz Concerto Rossini Introduction, theme & variations Mendelssohn Concert Pieces Opp. 113 & 114 Performers include: Davide Bandieri · Kevin Banks · Kálmán Berkes · Per Billman Jean-Marc Fessard · Henk de Graaf · Sharon Kam · Dieter Klöcker · Sebastian Manz Oskar Michallik · Robert Plane · Giuseppe Porgo · Giovanni Punzi · David Singer Tomoko Takashima · Maria du Toit · Kaori Tsutsui · Eddy Vanoosthuyse C 2018 Brilliant Classics DDD/ADD STEMRA Manufactured and printed in the EU 95787 www.brilliantclassics.com Clarinet 14CD Concertos 95787 Clarinet Concertos historical interest. The solo writing – composed for a high clarinet in D – suggests the virtuosity of Most musical instruments in use today derive from very ancient ancestors. The oboe, for example, a coloratura soprano. may be traced back to the shawm, an instrument with a double-reed and wooden mouthpiece, Louis Spohr (1784–1859), born in Brunswick, established a reputation as a violinist and conductor, used from the 12th century onwards.
  • Reinterpreting the Concerto Three Finnish Clarinet Concertos Written For

    Reinterpreting the Concerto Three Finnish Clarinet Concertos Written For

    Reinterpreting the Concerto Three Finnish clarinet concertos written for Kari Kriikku Sapphire Clare Littler MA by Research University of York Music December 2018 Reinterpreting the Concerto: Three Finnish clarinet concertos written for Kari Kriikku Abstract The origins of the word concerto can be traced to two different sources: the first is the Italian translation, to mean ‘agreement’, and the other stems from the Latin concertare, which means ‘to compete’. Ironically, the duality presented by these two translations encapsulates the true meaning of the concerto: opposition and resolution. This thesis focuses on Finnish works for clarinet and orchestra composed for Kari Kriikku in the last forty years, and seeks to analyse three in depth: Jukka Tiensuu’s Puro (1989); Magnus Lindberg’s Clarinet Concerto (2002); and Kaija Saariaho’s D’OM LE VRAI SENS (2010). The works have been chosen as these composers were all born around a similar time in Finland, and all worked with the same clarinettist, whom they all know personally. Through analysis, Reinterpreting the Concerto seeks to discover how each of these composers tackled the pre- existing model of the concerto, and suggest reasons for compositional decisions. The thesis will end with a discussion of clarinet technique, and how much writing for Kriikku in particular may have influenced the works. This essay will be formed of several sections, with the first examining the traits which could be considered important to each of the pieces: form, and how this results in the linear progression of the work; continuity and discontinuity created through melodic treatment, and how the soloist interacts with the ensemble.