江如韻鋼琴獨奏會 含輔助文件 彈性速度與蕭邦第四號敘事曲作品五二之演奏詮釋

Abstract

本文由彈性速度的歷史追溯早期（十九世紀前）的彈性速度，並涉獵於十九世紀時期發展，更為自由與誇張的晚期彈性速度。蕭邦的彈性速度風格經常被曲解為任意、自由與浪漫的，然而，透過有關於蕭邦演奏的歷史文獻研讀，對其作品和風格更深入的了解，筆者在本文中指出蕭邦彈性速度的淵源多為早期的彈性速度，爾後又藉由三位大師的錄音比較，解析自己對彈性速度用於蕭邦第四號敘事曲的看法。

This paper starts by tracing the history of tempo rubato from the earlier rubato (prior to the 19th Century), to the later rubato prevalent in the 19th Century, a freer and extravagant type. Chopin's rubato style has often been misinterpreted as arbitrary, extrememly free and romantic. However, through a survey of historical documentation on Chopin' s performance style and a thorough understanding of the music, the author points out that the origin of Chopin's rubato goes back to the earlier rubato. By also comparing three renowned masters' recordings, the author presents her views on the use of rubato in Chopin's Ballade No. 4.