楊玉卉大提琴演奏會(含輔助文件：復古與創新─德布西大提琴奏鳴曲之探討與演奏詮釋)

Abstract

摘要

身為「法國印象派音樂」之開創者及領導者的德布西，其音樂在二十世紀的影響力已無庸置疑。一直不願被規則所羈絆的德布西，從學生時代起，便一直難以被傳統音樂理論或音樂形式所說服，他認為「創造令人愉悅的音響」才是身為音樂家最重要的任務。 他一生共完成了141首作品。其作品大約可分三期，此首“為大提琴及鋼琴的奏鳴曲”創於第三期的1915年。而1914年第一次世界大戰的爆發，加上當時作曲家本身所承受的身體疾患，使得他同時必須面對內在以及外在壓力，以致於其人生觀，甚至是音樂觀均因而有戲劇性的改變。但最令人感佩的是，即使面臨人生的低潮，他依然對此作品有極大的期許。德布西曾說：「我又再度開始寫音樂作品，主要的目的是為了保存其不可磨滅的價值；次要的目的才是為了滿足個人的心靈需求」 。除了受本身所遭受環境(戰爭)及內在(疾病)衝突之影響，他對此曲之期待及努力更提升了此作品之特色及價值。 材料上，曲式所延用的是古典奏鳴曲風，並試圖彰顯古老法國音樂的優秀遺產，如拉摩、庫普蘭的等十七世紀作曲家的音樂內涵。除此之外，在沉浸於法國音樂的優秀傳統之餘，他也沒有捨棄不同的音樂材料，例如：當代詩集「月光小丑」之故事題材貫串了第二樂章(小夜曲)。 技術上的使用已不只是強調奇特的效果或單純的色彩變化，而是更具深度的結構組合，或是來自於內心深處的情感展現。和同期於德國由「荀白克」(Arnold Schoenberg)所建立的音樂形式理論相較，德布西的作品更顯活潑；和厚重的德國 樂曲組織相較，其音樂也更能彰顯法國音樂傳統以來的優雅和單純。 歷經人生際遇及時代的巨變，新舊交替的矛盾與衝突，呈現於作品內容的，就是對於所見、所聞及所感受的真實回應。於一百多年後的今天，我們無法重返於當時，然而，作品就是最好的歷史紀錄。在此作品中，錯綜交替的新舊素材中，所透露出的是完全與眾不同的新訊息，以至於即使作曲家已建構極度清楚的框架，對於演奏者而言，卻又像是鬼魂般難以捉摸其精神。「新」與「舊」的揉合為本作品之精神所在，也是本文所將主要論述的部分。筆者將著重於「素材」及「結構」的分析方式，抽絲剝繭，透視德布西在作品中的創新與復古，並以此客觀研究結果為基礎，作為一演奏的詮釋。

Abstract

As the creator and leader of French Impressionist music, Debussy’s music had a great influence in 20th century. Debussy, who would not like to be bound to obey the rules, was hardly persuaded to the traditional music theory and forms. He was convinced that “there is no theory. You have only to listen. Pleasure is law.” Out of his works, the cello sonata was finished in 1915, his last year. Due to the outbreak of World WarⅡin 1914 and his suffering from cancer, Debussy had to confront with both internal and external stress. His philosophy of life, even the philosophy of music changed. However, even in such an all time low of life, he had a beau ideal in these works. He said “I have begun again to write a little music, mostly so as not to forget it completely, very little for my own satisfaction…. It seems to me there is an opportunity of reverting, not to a too narrow and contemporary French tradition, but to the real true one which one can place immediately after Rameau – just when it was beginning to be lost!” His expectancy and effort uplifted the character and value of the work. On the design of the sonata, Debussy used “sonata form” and tried to emphasize the excellent French heritage, such as Rameau and Couprin’s music of the 17th century. However, he also took his compositional materials from other sources. For example, we can feel the Italian theater “Pierrot fachê avec la lune” in this sonata dramatically. In compositional technique, we find not only magnificent effects and colors, but also the logical construction and its profound expression. Compared with the music theory of Arnold Schoenberg, we can feel more animation and fantasy in Debussy’s music. On the other hand, different from the heavy texture of German tradition, we can feel more elegant and simple impression in his work. Experiencing the change of life and age, alternation of generations, Debussy recorded the story of world by music. We can realize what he saw, what he heard and what he suffered from in his compositions. Even we can’t go back to the age that Debussy was. The music works give us the best record. In this sonata, the composer combined traditions with the new inventions in music. That is why the players always feel the music is so hard to interpret even while many indications and marks are found in the scores. This article is about an interpretation, based on the findings after analyzing the compositional materials and structure of the work. It is also an attempt to understand the music though perceiving Debussy’s reworking on the many traditions of the past, as well as the innovation of that time.