蘇瑩珊鋼琴獨奏會 含輔助文件 巴爾托克鋼琴奏鳴曲之樂曲分析與演奏實務探討

Abstract

巴爾托克的鋼琴奏鳴曲創作於 1926 年，正值他的生涯規劃轉換期，在第一次世界大戰之後，他嘗試將事業重心從民謠採集和音樂院教學轉回演奏以及創作上，因此在這一年創作了四首鋼琴作品，其中包括此鋼琴奏鳴曲。然而，這首奏鳴曲雖然為了音樂會而作，卻連作曲家本人都認為不適合安排在音樂會曲目中，原因除了作品中原始敲擊性的特質和不協和衝突聲響之外，不易解讀的奏鳴曲式和陌生的音樂語法也阻礙了演奏者和聽眾對此曲的認識。

本論文在文獻回顧部分介紹和比較歷來分析此曲所用的理論，並且借用László Somfai 的觀點來看巴爾托克的晚期創作特徵。巴爾托克在此奏鳴曲中採用黃金比例以及拱橋對稱結構來創新奏鳴曲式，本文也進一步使用 Ernő Lendvai的軸心音理論來探討樂曲當中的動機發展手法和調性鋪陳，透過詳細的樂曲分析找出新的、更具說服力的演奏詮釋。

Béla Bartók's piano sonata, along with three other piano works, were written in 1926, during a period when he was trying to change his career weighting from folk song collection and teaching to composing and performing his own works. However, this piano sonata was considered unsuitable for a recital, even by the composer himself, because of its primitive way of striking touches and clashed resonances. In addition, its unconventional sonata form and musical idiom also create a communication barrier between the performer and audience.

In this thesis, various published analyses are compared and László Somfai's view points are borrowed for further insights of the characteristics of Bartók's late-period works. Bartók's ideas of utilizing golden ratio and arch structure in the sonata form are also discussed. Moreover, I will employ Ernő Lendvai's "Axis System" theory to investigate the motivic development and tonal structure of this sonata, in order to explore more novel and convincing performance.