李怡親鋼琴演奏會 含輔助文件 貝多芬《C小調原創主題的三十二段變奏》之詮釋探討：從巴赫《D小調夏康舞曲》觀其樂念發展

Abstract

貝多芬《C小調原創主題的32段變奏》為頑固低音變奏曲，並具有傳統夏康舞曲之節奏特質。在音樂元素的使用與整體情緒鋪陳方面，與巴赫《D小調夏康舞曲》不謀而合。筆者透過分析與探討，試圖了解貝多芬在文本中所要傳達的訊息，為何相隔近一百年的作品，會有如此相似的音樂情節。 本文分成四個部分。首先，概述貝多芬變奏曲的發展與《C小調原創主題的32段變奏》的背景與價值。第二，從貝多芬生活的環境與書信了解他對巴赫景仰之印象，並依傳統「夏康舞曲」與巴赫《D小調夏康舞曲》特質，重新解析《C小調原創主題的32段變奏》的特殊意涵。第三，依巴赫《D小調夏康舞曲》的文本，從比較進而分析《C小調原創主題的32段變奏》的變奏內容。最後，從了解「夏康舞曲」與《D小調夏康舞曲》的精神與節奏特質，賦予持有相似特質的貝多芬《C小調原創主題的32段變奏》個人的詮釋觀點，並探討樂曲整體張力的表現與鋪陳。

Beethoven’s Thirty-Two Variations in C minor is not only a set of variations based on an ostinato-like progression, its thematic rhythm also has similar characteristics to that of a chaccone. The elements used in the music, and the overall lay out of emotional content are similar to that of Bach’s Chaconne in D minor. Through this study, the author shows what Beethoven wanted to convey in his music, and why two works of nearly a hundred years apart can have such similar musical plots. There are four main parts in the thesis. First of all, an introduction on the development of Beethoven’s Variations, and the compositional background to the Thirty-Two Variations in C minor. Second, from understanding his admiration for Bach through his letters, and examining the traditional chaconne and Bach’s Chaconne, the specific meaning of Thirty-Two Variations in C minor is reconsidered. Thirdly, using Bach's Chaconne as a basis, the author compares and analyzes the Thirty-Two Variations. Finally, through observing the rhythmic characteristic and the spirit of the Chaconne, the author discusses the likewise performance issues in Beethoven's Thirty-Two Variations, with special attention on the layout of the overall tension in this music.