梁嘉珍鋼琴演奏會（含輔助文件：融合波蘭舞曲與抒情即興特質的幻想曲：蕭邦《幻想波蘭舞曲》之研究與詮釋）

Abstract

蕭邦《幻想波蘭舞曲》完成於1846年，是蕭邦首次在標題上明確地將「波蘭舞曲」和「幻想曲」兩個樂種名稱結合的作品。這首樂曲的素材包含有波蘭舞曲的元素、幻想曲的特徵、抒情即興的片段、富含深意的長導奏、夜曲風格的抒情中段，以及類似奏鳴曲式的寫作原則，堪稱蕭邦作品中結構最複雜、內容最多元、幻想即興與歌唱性最濃厚的一首波蘭舞曲，而在彈奏如此龐大又複雜的樂曲時，通常會面臨一個難處：如何將它彈奏得緊湊而完整？基於這個緣故，筆者因此想進一步研究這首樂曲在創作素材上的連貫性，以及音樂內在的戲劇性與即興特質。 本論文的研究方向分為三個部分：第一為波蘭舞曲與幻想曲的起源及風格演變，以及蕭邦賦予它們的創新意義。第二為樂曲分析，主要透過曲式結構、導奏動機與主題之間的關聯、調性安排的脈絡與波蘭舞曲節奏的運用來探討蕭邦如何在幻想即興之餘，仍使《幻想波蘭舞曲》保有整體的一致性。第三為演奏詮釋，主要針對這首樂曲的戲劇性與即興特質來探討合適的演奏詮釋。

Chopin completed his Polonaise-Fantasy in 1846, a work in which he combined the title polonaise and fantasy specifically for the first time. This work contains multiple materials, including the polonaise rhythms, the fantasy characteristics, many improvisatory segments, a profound and long introduction, a nocturne-like lyrical middle section, as well as some principles resembling those found in the sonata form. It can be therefore defined as the most complicated in structure, the most abundant in contents, and the richest in fantastic improvisation and singing qualities of Chopin’s polonaises. One faces a difficulty when performing such a huge and complicated piece: how to present a tight-knit and cohesive performance? I am thus interested in the study on the coherence between the composition materials, and also in the exploration of the internal drama dispersed with the improvisatory qualities in this work. This paper investigates three aspects: firstly, the origin and development in the styles of the polonaise and the fantasy, as well as their innovative meanings presented by Chopin; secondly, the coherence of the Polonaise-Fantasy through musical analysis of the formal structure, the connections between the introduction motives and primary themes, the tonal structure, and the applications of the polonaise rhythm; thirdly, the performing practice and interpretation on this dramatic and improvisatory large work.