孟德爾頌《六首前奏與賦格》，作品三十五之選曲分析暨詮釋報告 —以第一、三、四、六首為例

Abstract

「前奏與賦格」萌芽並成熟發展於巴洛克時期，古典時期因主音音樂及奏鳴曲式的崛起而暫緩腳步，至浪漫時期則因「巴赫音樂復興」再度復甦，身處浪漫時期的孟德爾頌(Felix Bartholdy Mendelssohn, 1809-1847)的作品35中，即內含六組前奏與賦格，以浪漫時期的音樂語彙出發，重新為此古老組合注入新的時代聲響及意涵。本文以作品35之選曲為研究範圍－分別為第一、三、四、六首，並分為六個章節：第一章緒論闡述筆者的研究動機、目的、研究範圍與方法。第二章將前奏與賦格分別釋義，並探究孟德爾頌自巴赫(Johann Sebastian Bach, 1685-1750)「前奏與賦格」的傳承與發展。第三章探討創作背景，此章節先論述孟德爾頌的鋼琴音樂分期與風格特色，概覽孟德爾頌的鋼琴賦格作品，最後以作品35之創作背景作結。第四章作品分析包含曲式架構、織度與和聲特點。第五章演奏詮釋將探討筆者於這四首前奏與賦格的演奏學習過程中所遇到的困難之處，並提出可能的解決辦法及詮釋觀點。第六章為結論。

“Prelude and Fugue”bourgeoned and developed in Baroque Period, subsided in Classical period due to the rising of homophonic music and sonata form, and then prospered again in Romantic Period because of “Bach Revial”. F. Mendelssohn(1809-1847) can be entitled the most influential figure marking the “Bach Revial”in the period. One of the F.Mendelssohn composed work, 6Preludes and Fugue, Op.35” were written in Romantic music style but creating a new epoch of the sound and music for the old musical combinations. This dissertation focuses on the No.1, 3, 4, 6 in this work. There are six chapters devoted in this thesis. Chapter One (Introduction) clarifies the Motivation, Purpose, Scope and Method of the Study. Chapter Two illustrates “Prelude and Fugue”individually and probes into how Mendelssohn held the torch of the tradition passed down from Bach and developed it. Chapter Three studies Mendelsohn’s compositional backgrounds, starting from his different piano composing stages and characteristics, followed by and overall survey of his piano fugue, ending with his Op.35. Chapter Four Music Analysis includes the the form, texture and harmonic characteristics in these four piano preludes and fugues. Chapter Five Performance Interpretation demonstrates the problems in performing these works, and brings up with a possible solution and interpretation. Chapter Six is the Conclusion.