郭幼亭雙簧管演奏會含輔助文件托馬索．阿爾比諾尼《D小調雙簧管協奏曲，作品九第二首》之演奏探討與詮釋分析

Abstract

托馬索．喬凡尼．阿爾比諾尼(Tomaso Giovanni Albinoni, 1671-1750/51)是巴洛克時期多產的作曲家，其於1700年代所創作的協奏曲，已具備韋瓦第以降協奏曲發展之精神，成為協奏曲發展史上極富啟示的一頁。 本研究從阿爾比諾尼寫有雙簧管協奏曲的兩套協奏曲集作品七(op.7)及作品九(op.9)中挑選最知名並具代表性的《D小調雙簧管協奏曲，作品九第二首》作為研究對象－第一章簡述阿爾比諾尼之生平及其雙簧管協奏曲作品，並從當時代協奏曲之發展淵源及創作型式引出對樂曲背景資料之初步認識；第二章試就各樂章之樂曲架構、創作手法、樂句與音型動機、調性與和聲安排等方面分析，期望更進一步了解樂曲創作脈絡；在演奏巴洛克時期慢板樂章時，經常會產生該如何以裝飾音潤飾旋律之疑慮，因此第三章特別針對裝飾音潤飾法做一簡要探究，並從實際習作第二樂章之裝飾音，體會裝飾音運用之方法；第四章經由筆者多年學習與演奏經驗再輔以相關理論，來探究比較運舌法、抖音、速度、音量等樂曲演奏技巧，更能直接傳達筆者之詮釋理念。

Tomaso Giovanni Albinoni(1671-1750/51)is a fruitful composer, whose concertos made in 1700s had consisted with the spirit of the evolution of it from Antonio Vivaldi and had been inspirable in the history, during the Baroque. Our research chose one famous piece- oboe concerto no. 2 in d minor, op. 9- from two representative volumes- concerti a cinque- for oboe and string orchestra(op.7 and op.9)of Albinoni to do the empirical study. In Chapter 1, I introduced the biography of Albinoni and his compositions for oboe briefly; and then, I sought to do a briefing of this piece through the illustration of the evolutionary process and compositional style in that era. In Chapter 2, to figuring out the context of this work, I analyzed the structure, artistic technique, phrase and motif of this piece. Because it usually existed some perplexity of how to polish the melody by ornaments while playing the Baroque adagio, I discussed ornaments and practiced it through the 2nd movement of this work to realizing the way of using ornaments in Chapter 3. In Chapter 4, according to my learning and performing experience and some relative theory, I demonstrated the technique of performance by probing the articulation, vibrato, speed and volume, etc. And it would express what I want to interpret in this article directly.