徐幼齡鋼琴獨奏會 含輔助文件 從貝多芬當代調性的認知詮釋其晚期鋼琴奏鳴曲作品110

Abstract

《貝多芬鋼琴奏鳴曲，作品110》完成於1821年，為貝多芬最後三首奏鳴曲的其中一首，三樂章以調性、速度、「主題」動機發展來串聯整曲架構、內容。尤以第三樂章結合宣敘調、賦格曲式的形式，不僅創新曲種的發展，更創造出作品內部意義與外在形式間的緊密連結。貝多芬晚期作品偏向人類精神、意志上的意義與勝利，音樂語彙也比同時代的作曲家艱深，在歷經耳疾、姪子訴訟官司、身體病痛時，貝多芬不忘將自己投入到更深層的音樂創作中，追求內在世界的平靜，超脫世俗的規則與侷限，發展出自我獨特、精鍊的音樂語言，藉由創作表達出心中最想說的故事。本論文的研究方向分為三個部分：第一為藉由許多學者的研究來理解貝多芬最後三首鋼琴奏鳴曲作品109-111的音樂風格發展，並歸納出其共通創作手法與特點。第二，以Rita Steblin探討十八、十九世紀調性特徵的論述，統整出七位音樂理論家對調性的見解，進一步聚焦於作品110中的調性安排，探討、對照貝多芬不尋常的調性架構與內容意義。第三為作品110分析，以速度、節奏、「主題」動機發展觀點連結貝多芬的生平，追溯晚期鋼琴作品欲突破內部形式而與外在生活事件連結之可能性。

Beethoven completed his Piano Sonata opus 110 in 1821. It is one of the last three piano sonatas in which he combined tonality, tempo marking, developments of motto motive closely with music structure and specifically for expressing music meaning. Above all, the form of the third movement integrates recitativo and fugue with sonata form which not only innovates the genre of sonata form, but also create inseparable interrelationship of intrinsic meaning and extrinsic form. The late music style of Beethoven is prone to explore meaning and victory via human spirit and willpower. Going through hearing loss, litigation of his nephew Carl, body illness, Beethoven’s music vocabulary becomes more intricate than other contemporary composers so as to devote himself to pursuing tranquility of innermost world in his profound, creative process. He aims not only to transcend common principles and limits but to expand his own peculiar, refined music language to express the story in his heart. Three aspects will be investigated in this paper: first, past research will be reviewed to understand Beethoven’s development of musical styles in the last three piano sonatas and to sum up the common applications of techniques, characteristics; second, seven music theorists will be selected as examples from Rita Steblin’s valuable monograph A History of Key Characteristics in the Eighteenth and Early Nineteenth Centuries, whose descriptions of different tonality would be explored and compared with the unusual tonal structure and meaning in opus 110 as antithesis; third, opus 110 will be analyzed by tempo marking, rhythm, developments of motto motive so as to trace the possibility of correlation between breakthrough of interior form and exterior living events.