郭怡君小提琴獨奏會 (含輔助文件：從二重奏的創作型式探討貝多芬第九號小提琴與鋼琴奏鳴曲，作品編號四十七 “克羅采” 的風格及詮釋)

Abstract

郭怡君小提琴獨奏會 (含輔助文件：從二重奏的創作型式探討貝多芬第九號小提琴與鋼琴奏鳴曲，作品編號四十七《克羅采》的風格及詮釋) 演奏會曲目 貝多芬：第九號小提琴奏鳴曲，作品四十七《克羅采》 梅湘：給小提琴與鋼琴的主題與變奏 J.S.巴哈：第二號小提琴無伴奏組曲，BWV 1004 薩拉薩泰：《卡門幻想曲》，作品二十五 上列曲目已於二○○四年三月二十三日下午七點四十五分在國立交通大學演奏廳演出，該場演奏會錄音的CDs將附錄於本文。 摘要 本文是以貝多芬第九號小提琴奏鳴曲作品四十七《克羅采》為研究對象，探討樂曲中小提琴於二重奏創作型式的演奏表現。試圖藉由樂曲副標題(Sonata per il Piano-forte ed un Violino obligato, scritta in uno stilo molto concertante, quasi come d’un concerto)的敘述，透過小提琴與鍵盤樂器二重奏樂曲的歷史演進、樂曲創作的風格緣由、樂曲結構與戲劇性張力的分析、以及演奏家風格詮釋的研究，尋得理想合適的音樂表現。

Yi-Chun Kuo Violin Recital (with a supporting paper: Performance Issues and Interpretation on Beethoven’s Sonata for Piano and Violin No.9, Op.47 “Kreutzer”― from the Violin and Piano Duo Context) Recital Program Ludwig van Beethoven: Sonata for Piano and Violin No.9, Op.47 “Kreutzer” Olivier Messiaen: Theme and Variations for Violin and Piano Johann Sebastian Bach: Partita for Violin Solo No.2, BWV 1004 Pablo de Sarasate: “Carmen Fantasy” after Bizet’s Opera, Op.25 The program above was performed on Tuesday, March 23, 2004, 7:45 pm in the Recital Hall of the National Chiao Tung University. The recording CDs of the recital are appended on this paper. Abstract In this present essay, we will discuss the relationship between the musical context and violin playing through the development of the violin and piano duo sonata, the stylistic character of Beethoven’s opus 47, and the issues of performance practice (tempo, dynamic, and acoustic effect) in order to explore the possible ideal performance.