舒曼：《帕格尼尼音樂會練習曲》作品十

Abstract

舒曼的《帕格尼尼音樂會練習曲》Op.10是創作早期的作品，寫於1833年，幾經修改後發表於1835年，本組作品一共有六首，旋律取自帕格尼尼的《二十四首隨想曲》Op.1，表達出尊崇和效法帕格尼尼高超演奏技巧的心志。舒曼將本部作品命名為音樂會練習曲，和1833年所發表的《帕格尼尼練習曲》Op.3做區隔，舒曼表示Op.3是為了教育的目的而做，Op.10則是為了音樂會演出而創作的作品，以宣揚後者的藝術性。 李斯特在1830-40年間也做了同名作品《帕格尼尼大練習曲》，舒曼在評論中表示李斯特著重的是「技巧」，為「炫技的練習曲」，而自己的作品則是強調「詩意的表達」。 本曲是音樂會練習曲也是改編曲，本論文從曲式、節奏、旋律、和聲、織度上的特色著手為每一首做分析， 詮釋部份則分別就技巧、多層次的旋律線條處理、以及詩意的表達進行探討。

6 Concert Etudes after Paganini Caprices, Op.10 is one of Schumann’s early works, written in 1833, and published in 1835 after several revisions. Adapting from Paganini’s 24 Capricci for Solo Violin, Op. 1 for its melody, the 6 pieces it includes express the will to venerate and imitate Paganini’s tremendous performance technique. Schumann names the work Concert Etude to differentiate it from Etudes after Paganini Caprices, Op.3 in 1833. Op. 3 is a work for educational purpose, whereas Op. 10 is for concert performance, propagating its own artistic essence, Schumann says. While Lizst makes a work in the same name Grandes études de Paganin in 1830-40, he makes it as a virtuoso etude, that technique is its emphasis. As for Schumann’s work, he himself says in a criticism that what his work accentuates is the poetic expression. This music is a concert etude, as well as a transcription. The paper tends to analyze each piece of them from the characteristics in its form, rhythm, melody, harmony and texture, and interprets from the perspectives of technique, performance of melody flows in many layers, and poetic expression.