米凱耶．海頓《C小調安魂曲》之指揮詮釋與研究

Abstract

本論文探討米凱耶·海頓 (Michael Haydn, 1737-1806)的宗教音樂作品《C小調安魂曲》(Requiem in C minor, MH.155)，旨在深入探討其創作背景、音樂結構以及指揮詮釋的技巧與實踐。此作品於1771年為紀念薩爾茨堡大主教施拉特巴赫 (Sigismund Graf Schrattenbach, 1698-1771) 而作。在創作背景部分，本研究探討了米凱耶·海頓的生平及其對宗教音樂的貢獻，並詳細分析了《C小調安魂曲》的特殊創作歷程，特別是其在大主教逝世後僅用兩週便完成的高效率創作過程。作品的配器結構遵循了18世紀薩爾茨堡彌撒曲的傳統，但也展現出作曲家在聲響設計上的精巧處理，例如弦樂與管樂的分工、人聲的多層次運用等。研究者結合個人排練及展演經驗，詳細闡述了如何透過指揮技巧如預備拍、分割拍、左手表現等，提升合唱與樂團的表現力。特別是在德式拉丁發音的選擇與應用上，本研究提出了具體建議，例如某些子音和母音的處理如何強化音樂的節奏與音色對比，為作品增添層次感。

This thesis explores the religious musical work Requiem in C minor (MH.155) by Michael Haydn (1737–1806), with a focus on its historical background, musical structure, and conducting techniques for interpretation and practice. The piece was composed in 1771 to commemorate the Archbishop of Salzburg, Sigismund Graf Schrattenbach (1698–1771).In the section on historical background, this study examines Michael Haydn's life and his contributions to sacred music, providing an in-depth analysis of the unique circumstances surrounding the creation of Requiem in C minor. Notably, the work was completed with remarkable efficiency within two weeks following the archbishop's death. The orchestration adheres to the traditions of 18th-century Salzburg Mass settings while showcasing the composer’s refined handling of sonority, such as the division of roles between strings and winds and the multi-layered use of vocalparts. Drawing from personal rehearsal and performance experience, the researcher elaborates on conducting techniques—including preparatory beats, subdivided beats, and expressive use of the left hand—that enhance the performance of the choir and orchestra. Particular attention is given to the choice and application of German Latin pronunciation, with specific recommendations on handling certain consonants and vowels to strengthen the rhythmic and timbral contrasts, thereby adding depth to the piece.