《彼得洛希卡》鋼琴獨奏版本之演奏探討：由織度、層次與樂團版本的轉換為例

Abstract

伊果．史特拉溫斯基 (Igor Stravinsky, 1882-1971) 創作早期有三部極負盛名的芭蕾舞劇——《火鳥》(The Firebird)、《彼得洛希卡》(Petrushka)和《春之祭》(The Rite of Spring)。《彼得洛希卡三樂章》是史特拉溫斯基為阿圖．魯賓斯坦 (Arthur Rubinstein, 1887-1982) 改編而成的鋼琴獨奏版。 在這首《彼得洛希卡》中無論是芭蕾舞劇中活動與靜止的畫面，還是鋼琴獨奏版中史特拉溫斯基採用強烈對比的改編手法，都是在所有協和或不協和的音樂動機中尋求一種平衡，使整首作品在各種矛盾的素材中達到一種統一性，從而使之成為一首在技術上和音樂上都極富挑戰性的曲目。魯賓斯坦作為史特拉溫斯基唯一允許改編這首曲目的鋼琴家，充分利用鋼琴的效能，頗具新意的改編使魯賓斯坦版的《彼得洛希卡三樂章》令人耳目一新。 筆者在這篇論文中重點探討史特拉溫斯基版《彼得洛希卡三樂章》的織度與層次處理和魯賓斯坦改編版的記錄與分析，希望透過研究不同改編者的改編思路，能對這首作品的結構有更深的瞭解以及在演奏上能有更多元的思考方式。

Igor Stravinsky (1882-1971) wrote three famous ballet works during the early period of his creation——The Firebird, Petrushka and The Rite of Spring. Later, Stravinsky adapted Petrushka on the solo piano version for Arthur Rubinstein (1887-1982). In Petrushka, whether in the active or inactive episodes in the ballet, or in the striking contrasts arranged and adapted in the solo piano version, the main goal was to seek a balance between the contrasts, which in this work achieved unity in all kinds of incompatible materials, thus becoming a highly challenging composition both technically and musically. Rubinstein as the only pianist that Stravinsky allowed to adapt this composition, made full use of the piano’s effect, resulting in a refreshing performance version that took some notable adaptation methods. This paper mainly discusses the texture and layering in Stravinsky’s Petrushka on the solo piano, while also putting down on paper Rubinstein’s adaptation as heard in his live recording. The author hopes through this research into different adapters’thinking, one could reach a deeper understanding of this composition, and hence a wider scope for the performance interpretation.