普羅高菲夫《降B大調第四號鋼琴協奏曲》之研究

Abstract

中文摘要

左手鋼琴協奏曲在音樂的歷史上可以算是一種較為特殊的音樂體裁形式，雖其在十九世紀末時就已經有許多作曲家為了嘗試而寫作這一類型的曲種，但在事後卻因其演出的方式過於特殊而逐漸式微。而在左手鋼琴演奏家中有一位保羅˙維特根斯坦(Paul Wittgenstein, 1887-1961)可以算是這個領域的核心代表人物之一，在現今所存留的左手鋼琴協奏曲中，有一部分都是保羅委託其他作曲家所創作出來的樂曲，其中包括了此一論文要研究的普羅高菲夫《降B大調第四號鋼琴協奏曲》，在這首樂曲中我們可以看到普羅高菲夫常用的作曲技巧，及他對左手鋼琴這一類型樂曲的獨到創作及見解，並充分的發揮其獨特的音樂創作風格。

左手鋼琴曲的曲目在現今演奏家的演出名單中依然是一個較為冷僻的選擇，且無論是對於左手鋼琴曲目的研究或是對於專研左手鋼琴彈奏技巧的論著都不多，而對於左手演奏家的研究更少。也因此筆者希望透過此一論文讓更多的人認識左手鋼琴曲目的這個領域。

Abstract The Piano Concerto for the Left Hand, which can be regarded as a more unique form of music genre in the history of music, had been written by many composers for their attempts at the end of the 19th century, yet it gradually declined owing to the way its performance was too unusual afterwards. Paul Wittgenstein is considered to be one of the core representatives of these composers, for which he commissioned other composers to write part of the left-handed piano concertos now in existence. Those include Sergei Sergeyevich Prokofiev’s Piano Concerto No. 4 in B major, which is the main topic of this study. Prokofiev’s usual composition skills as well as his unique creations and insights into the left-handed piano concertos can be revealed by this piece of music, and he also showed his distinctive musical creation style.

Left-handed piano concertos are still a relatively obscure option on the performance list for performers nowadays, and neither the study of left-handed piano concertos nor the treatise of left-handed piano playing skills is scarce. The study in left-handed pianists is less. Therefore, the author hopes to let more people realize about the realm of left-handed piano music via this study.