陳莉湘中提琴演奏會 含輔助文件 被遺忘的作品，不忘初衷的作曲家： 羅薩 (RÓZSA) 的中提琴協奏曲

Abstract

羅薩最受矚目的是他的電影音樂,在好萊塢發展相當成功,不過在工作之餘,他還是 創作了許多音樂會作品,手法相當講究,完成對自己作曲家身份的期許。作品 37 的中 提琴協奏曲,是 1979 年為了好友大提琴家 Gregor Piatigorsky 引薦的年輕小提琴兼中提 琴家 Pinchas Zukerman 而寫,並於 1984 年 5 月由 Zukerman 獨奏、André Previn 指揮在 美國匹茲堡首演。這是羅薩生前最後的大型管弦樂作品,也是他唯一具有四個樂章的 協奏曲作品:之前分別寫給小提琴 (op. 53, 1953)、鋼琴 (op. 31, 1966)、大提琴 (op. 32, 1968) 的三首皆為三樂章形式。羅薩在萊比錫音樂院 Hermann Grabner 門下的專業訓練, 使作品非常精煉,獨奏者也有炫技的機會。而因著早年的接觸與前輩 Bartók 與 Kodály 的影響,本曲充滿著匈牙利傳統色彩。另一方面,長期電影配樂的經驗,又使樂曲格 外動聽,吸引著更多聽眾。然而羅薩在好萊塢的名聲令人忽略了他的音樂會作品,相 關研究更是稀少,本曲在首演四十年後應該也尚未在台灣公演過。因此本論文將進行 以下四個面向的基本研究:(一)首演紀事,包括演出後的評論;(二)結構分析, 集中於和聲與曲式的關係;(三)詮釋比較,以 Gilad Karni (2007, 2013) 與 Lawrence Power (2009) 的三個錄音版本為例;(四)歷史定位,以二十世紀兩首同類代表作 (Walton [1929], Bartók [1945]) 的錄音與演出為參照。

Miklós Rózsa was most notable for his film music and enjoyed a very successful career in Hollywood. In his spare time, however, he had composed many quality concert works to fulfill his vocation as a composer. His opus 37, the Viola Concerto, was written in 1979 at the suggestion of his friend the cellist Gregor Piatigorsky for the young violinist and violist Pinchas Zukerman. It was premiered by Zukerman as soloist under the baton of André Previn in May 1984 in Pittsburgh. This is Rózsa’s last large orchestral work, and his only four- movement concerto: previous concertos for violin (op. 53, 1953), piano (op. 31, 1966), cello (op. 32, 1968) all have three movements. While the professional training Rózsa received at the Leipzig Conservatory under Hermann Grabner secures the quality of the composition and the virtuosity of the solo instrument, his early contacts and the influences of his senior compatriots Bartók and Kodály fill the work with Hungarian traditional colors. Rózsa’s long experience in writing film music, on the other hand, makes the music extremely appealing and attractive to the larger audience. However, his fame in Hollywood eclipses the achievements of his concert works, and research on them is rare. Even forty years after its premiere, this concerto has yet to be performed in Taiwan. Therefore, this paper will provide a basic study of this piece in the following four aspects: (a) before and after the premiere, including the reviews of the performance; (b) structural analysis, focusing on the relationship between harmony and form; (c) comparison of interpretations with the three recordings of Gilad Karni (2007, 2013) and Lawrence Power (2009); (d) historical significance, in reference to the recordings and performances of two twentieth-century masterpieces of the same genre (Walton [1929], Bartók [1945]).