舒曼《狂歡節》作品九之分析與詮釋
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2016
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十八世紀末的歐洲社會動盪不安，風起雲湧的革命運動迫使人民在痛苦的環境下生存著，許多人轉而將個人情感寄託在藝術、文學上，而藝術正是一種表現人性的方式，不少音樂家更將音樂視為最能夠表達自我思想的方式，貝多芬 ( Ludwig van Beethoven, 1770-1827 ) 就曾表示音樂是表達情感最好的工具。到了十九世紀，以表達情感為目標的藝術主張得到作曲家的共鳴，羅伯特．亞歷山大．舒曼 ( Robert Alexander Schumann, 1810-1856 ) 為十九世紀浪漫時期極具代表性與重要性的作曲家之一，他的作品中經常有情感的流露，在他與母親的書信中曾提到：音樂是表達靈魂最理想的語言， 對舒曼而言，音樂是一種語言，世上的情、物皆可作為創作思考的來源，內心的情感亦可全然訴諸於音樂之中。
在舒曼的作品當中，以鋼琴曲及聲樂曲佔多數，其中鋼琴曲又以個性小品 (character piece) 最具獨特性，《狂歡節》( Carnaval, 1835 ) 為舒曼早期作品，是由二十一首小曲所組成的個性小品，舒曼將當時的戀人艾妮絲汀娜 ( Ernestine von Fricken, 1816-1844 ) 之故鄉Asch四個字母轉換為音符，成為貫穿全曲的動機，同時受到當時著名的文學家尚．保羅 ( Johann Paul Friedrich Richter, 1763-1825 ) 的影響，在二十一首小曲中呈現各種幻想，藉假想的面容宣抒他暗藏的浪漫思想和情感暗示，樂曲中有許多象徵性人物的描繪，而這些也反映舒曼個人矛盾個性的隱喻–外向的「佛洛瑞斯坦」(Florestan) 以及內向的「優塞比斯」(Eusebius)。
本論文共分為六個章節，包含作曲家生平、文學涵養對於音樂創作的影響、樂曲的創作背景與結構分析……等，期望透過不同層面的研究瞭解，揣摩舒曼內心欲表達之意涵，在演奏詮釋時能更加掌握樂曲的特色與風格。
In the late eighteenth century, Europe was in turmoil because of series of revolutions. People struggled to earn livings and therefore turned to arts and literature for consolation. Arts are no doubt good ways to express human nature. Ludwig van Beethoven (1770-1827) indicated that music is the best means for conveying emotion. In the nineteenth century, a viewpoint aimed at emotional expression evoked composers’ responses. Robert Schumann’s (1810-1856) compositions were rich in affections and he stood out as one of the most important composer in the nineteenth century. Schumann wrote to his mother, “I believe music to be ideal language of the soul”. For Schumann, music is a kind of language .Everything can be the inspiration of compositions. In Schuman’s compositions, the majority was piano and voice works. Character piece are especially the most distinctive ones. Carnaval (1835) was Schumann’s character piece of his youth which contain twenty pieces. Schumann converted “Asch” which was the hometown of his lover- Ernestine von Fricken, (1816-1844) into the motive of Carnaval. Affected by Jean Paul Richter (1763-1825) who was a celebrated author of his time, Carnaval was flooded with illusions and implications. There were many character depictions in the Carnaval-extrovert Florestan and introvert Eusebius, reflecting the contradiction in his character. There were six chapters in the thesis which included the background of Schumann, the influence of literature on Schumann, the background of Carnaval and analysis of structure. With the discussion and analysis in different aspects, how Schumann wanted to express is expected to understand, so that the performer can understand more about the characteristic and style of Schumann’s compositions.
In the late eighteenth century, Europe was in turmoil because of series of revolutions. People struggled to earn livings and therefore turned to arts and literature for consolation. Arts are no doubt good ways to express human nature. Ludwig van Beethoven (1770-1827) indicated that music is the best means for conveying emotion. In the nineteenth century, a viewpoint aimed at emotional expression evoked composers’ responses. Robert Schumann’s (1810-1856) compositions were rich in affections and he stood out as one of the most important composer in the nineteenth century. Schumann wrote to his mother, “I believe music to be ideal language of the soul”. For Schumann, music is a kind of language .Everything can be the inspiration of compositions. In Schuman’s compositions, the majority was piano and voice works. Character piece are especially the most distinctive ones. Carnaval (1835) was Schumann’s character piece of his youth which contain twenty pieces. Schumann converted “Asch” which was the hometown of his lover- Ernestine von Fricken, (1816-1844) into the motive of Carnaval. Affected by Jean Paul Richter (1763-1825) who was a celebrated author of his time, Carnaval was flooded with illusions and implications. There were many character depictions in the Carnaval-extrovert Florestan and introvert Eusebius, reflecting the contradiction in his character. There were six chapters in the thesis which included the background of Schumann, the influence of literature on Schumann, the background of Carnaval and analysis of structure. With the discussion and analysis in different aspects, how Schumann wanted to express is expected to understand, so that the performer can understand more about the characteristic and style of Schumann’s compositions.
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舒曼, 個性小品, 狂歡節, 佛洛瑞斯坦, 優塞比斯, Schumann, Character piece, Carnaval, Florestan, Eusebius