溫婕小提琴畢業演奏會 含輔助資料 畢業演奏會錄音與樂曲解說以及室內樂演奏會錄音

Abstract

演奏者在演奏樂曲時，因作曲者透過樂譜能傳達的信息有限，為了選擇更適當的詮釋方法，往往會參考樂曲之相關背景資料。此音樂會所選擇的五首曲目，橫跨十七至二十世紀，其中包含兩首舞曲分別由韋塔利及薩拉沙泰所作，前者為充滿憂愁情感的夏康舞曲，後者西班牙舞曲則洋溢濃厚異國風情；兩首奏鳴曲由舒曼及易沙意所作，前者具有詩意又浪漫，後著第二號小提琴奏鳴曲結合了古今精神；以及魏奧當富戲劇張力、形式自由的幻想曲。五首樂曲各有其不同風格與特色，其中有關韋塔利和魏奧當作品之資料或文獻並不多，於是筆者將以樂曲之結構與分析，並加入自我的詮釋為主要方向，其餘三首作品，則另加入探究其時代背景及創作手法，祈冀在抽象的音樂中，藉此建立更具說服力的音樂詮釋與豐富的想像畫面，此即為本音樂會樂曲解說之目的。

The performers, when playing, would often refer to relevant background information of the music in pursuit of gaining a more appropriate interpretative insight since the composer can only convey limited information through the score. The five selected works which would be performed in this recital, spanning from the 17th to 20th century, contains two dances written by T. Vitali and P. Sarasate, the former being a melancholic Chaconne while the latter being filled with a strong spanish dance exotic. The two sonatas were written by R. Schumann and E. Ysaÿe; the former has a poetic and romantic air while Ysaÿe’s Sonata No. 2 combines both ancient and modern spirit. Lastly, H. Vieuxtemp’s Fantasia Appassionata Op. 35 rounds up the recital with dramatic tension within this free-form Fantasia. The five works differ in styles and characteristics, amongst which the work of Vitali and Vieuxtemps lack relevant information or literature. The author of this document therefore analyzes the structure of each music along with her own interpretative method. For the rest three works the author also explores the historical background and creative approach in the hope of establishing a more convincing musical interpretation and rich imagination. These would serve the purpose of this supporting document of this recital.