黃英樺鋼琴演奏會含輔助文件以《鋼琴奏鳴曲，作品一》窺時代下的亨利‧杜提耶及作品一之分析與詮釋

Abstract

亨利‧杜提耶 (Henri Dutilleux, 1916~2013) 曾在與格雷曼 (Glayman, 1993) 的訪談中提及，在納粹占領法國期間，他已感覺將來他的作品「應與法國音樂之特定 特質保持距離，此特質被定義為屬於清晰、迷人、優雅與均衡的世界。」另外，杜提耶回憶1946年至1948年創作《鋼琴奏鳴曲，作品一》之時，正是「忙於尋求自我聲音」、「想逐漸往創作較大形式作品前進，而非僅滿足於短小作品，並藉此來擺脫一種『典型法國』的寫作方式」的時期；以上皆可看出時人對法國音樂之既定印象，與杜提耶亟欲擺脫的刻板印象。而使杜提耶之後能擺脫「典型法國寫作」的兩大因素，根據其友波特 (Caroline Potter) ，一為受到巴爾托克 (Béla Bartók, 1881~1945) 組織音樂之手法，二為受到十九世紀德國巨作 (large-scale masterpiece) 概念的影響。因此本文首先取杜提耶訪談的資料，並參考波特之著作，探討杜提耶所處法國之時代背景，進而至其創作手法之形成；再就《鋼琴奏鳴曲，作品一》之創作背景、所受之影響以及樂曲分析，提出自身看法與詮釋。

In conversations with Claude Glayman, Henri Dutilleux mentioned that during the Nazi’s occupation of France, he had already come to feel that “in my future works I should have to keep my distance from a certain spirit in French music, defined by the worlds of clarity, charm, elegance, balance.” Also, Dutilleux referred that when the time of composing Piano Sonata Op. 1 in 1946-48, it was a period that “I was busy trying to find my own voice”, and “wanted to move gradually towards working in larger forms, and not to be satisfied with short pieces – to get away…from a way of writing that was ‘typically French’”. Among his commentaries show the stereotype of French music given by his contemporaries, and how Dutilleux wanted to shake off this stereotype. The very two factors enabling Dutilleux to make riddance of his so-called “typically French”, according to Caroline Potter, one was Bartók’s methods of musical organization, and the other was the 19th-century Germanic concept of the large-scale masterpiece. Hence this study will use the interviews with Dutilleux, as well as the researches by Potter who knew the composer, as main references, looking into his era and ways of composition, thus reaching an analytical interpretation on this Piano Sonata.