陳怡如長笛演奏會含輔助文件卡爾．尼爾森《長笛協奏曲》之分析與作品詮釋探討

Abstract

卡爾．尼爾森是丹麥最著名且受人崇敬的作曲家，同樣也被認為是在二十世紀初具有創造力與獨特性的作曲家之一。尼爾森的作品風格豐富多變，所涵蓋的曲種範疇廣泛，儘管當時的音樂發展極為多元，仍然保有獨特的個人風格。尼爾森早期的器樂作品在形式上多遵循傳統音樂結構，偏向模仿維也納古典樂派，明顯受莫札特的影響，其架構上的嚴謹又受到當代德奧作曲家布拉姆斯的影響。後期的作品顯著地將他的人生哲學融入其中，例如標題為《擴張》的第三號交響曲，其標題意指的是一種對外在事物的興趣和人性的樂觀態度，相信生命力可以戰勝一切苦難。而第四號交響曲標題《永恆不滅》，指的是人類的靈魂即使在灰暗而苦難的時代，還是難以抹滅。 尼爾森於1926年亦是創作生涯晚期所創作的《長笛協奏曲》，此時期裡，他開始探索新的音樂表現，並達到了成熟音樂風格的頂峰。從此首協奏曲中，可看出後期尼爾森渴望找尋音樂的純淨、簡單、與對比性，並使用了許多古典的音樂素材，和當代的作曲手法，此特徵有趨向新古典主義樂派的創作精神。 本輔助文件共分六個章節，第一章為前言，第二章從尼爾森的生平介紹到十九世紀末丹麥的藝文環境對其藝術生涯的影響，及長笛協奏曲的創作背景與首演事略，第三章以尼爾森六首交響曲為例，檢視其前後期風格演變與劃分，第四章與第五章則分別為其長笛協奏曲的分析與詮釋，第六章為本文結語。

Carl Nielsen (1865-1931), the greatest and most respected Danish composer, is also considered to be one of the most creative and unique composers of the early twentieth century. Nielsen's works are various and complex, covering a wide range of genres. Although the late 19th and early 20th centuries saw many radical changes in musical style, Nielsen remained true to his own unique approach. His early instrumental works followed many conventions of the classical period, mainly Mozart, but his formal structures were influenced by his Austro-German contemporaries, including Brahms. In later years, he wrote compositions that reflected his life philosophy; for example, his Third Symphony, Espansiva, is about the optimistic attitude of humans concerning external things, for he believed that strength of life can conquer all suffering. The title of his Fourth Symphony, Det Undslukkelige, concerns the inerasable spirit of humanity (or "will to live" ), even during its darkest and most difficult times. Nielsen's Flute Concerto was composed in his later creative stage, in 1926. In this period, he started to explore new musical performance techniques and achieved the peak of his mature style. From this concerto it can be observed that Nielsen's desire in the latter part of his career was for pure, simplistic, and contrasting music which combined classic music material with modern compositional methods. His music showed a definite trend toward the spirit of Neoclassicism. There are six chapters in this paper. The first chapter is the introduction. Chapter two starts from Nielsen's background as a composer, introducing Nielsen's life and the influence of the artistic and cultural scene in Denmark. Chapter three examines the stylistic changes in his six symphonies, dividing his music into a classification of his earlier and later styles. Chapter four features an analysis of the Flute Concerto, and chapter five is about the interpretation to the performance of the work. The last chapter is the conclusion.