韓德爾神劇《約書亞》七首合唱選曲之指揮詮釋

Abstract

喬治・弗里德里希・韓德爾(George Frideric Handel, 1685-1759)與約翰・塞巴斯蒂安・巴哈(Johann Sebastian Bach,1685-1750)、多明尼哥・史卡拉第(Domenico Scarlatti, 1685-1757)齊名為「巴洛克三巨匠」，可見韓德爾在音樂歷史上的影響力。神劇《約書亞》(Joshua, HWV64, 1747)為韓德爾成熟時期之作，僅耗時32天完成，其中又以合唱音樂部分為人所讚譽，本論文研究之主題便是其成熟時期之作《約書亞》。《以色列的兒子啊》本論文旨在研究韓德爾神劇《約書亞》（Joshua）中具有代表性的七首合唱作品，包括：No.2《以色列的兒子啊》(Ye sons of Israel)、No.17《主命令》(The Lord commands)、No.28《榮耀歸與神》(Glory to God)、No.50《偉大的約書亞》(Hail! Mighty Joshua)、No.57《慈悲的天父》(Father of mercy)、No.59《看那凱旋歸來的英雄》(See the conquering hero comes)、No.65《偉大的耶和華》(The great Jehovah)。研究內容以文獻回顧為基礎，分析作曲家韓德爾的生平及相關樂曲的創作背景，進一步探討韓德爾在神劇合唱音樂中的傳統承襲與個人創新之處。透過對上述七首合唱選曲的曲式結構、段落安排、對位技法、和聲架構等音樂要素進行詳細分析，研究者結合巴洛克音樂理論專書的閱讀成果，並經由指導教授的討論指導，提出了對七首合唱作品的音樂詮釋與指揮技巧的觀點。希望本研究能對指揮學習者、音樂專業人士及愛好者提供實質助益。

George Frideric Handel (1685-1759), along with Johann Sebastian Bach (1685-1750) and Domenico Scarlatti (1685-1757), is renowned as one of the"Three Great Masters of the Baroque Period," underscoring Handel's influence on the history of music. Handel’s oratorio Joshua (HWV 64, 1747) is a work from his mature period, completed in only 32 days, with particular acclaim for its choral music. This paper focuses on seven representative choral pieces from Joshua, specifically: No. 2 "Ye Sons of Israel," No. 17 "The Lord Commands," No. 28 "Glory to God," No. 50 "Hail! Mighty Joshua," No. 57 "Father of Mercy," No. 59 "See the Conquering Hero Comes," and No. 65 "The Great Jehovah." The research is based on comprehensive review of relevant literature, analyzing Handel's biography, and the compositional background of the selected works. Furthermore, it explores Handel's inheritance of traditional composing techniques and his innovations in choral music within the oratorio genre. By conducting detailed analysis of the musical elements of these seven choral pieces—including formal structure, sectional organization, contrapuntal techniques, and harmonic frameworks—the author integrates insights from Baroque music theory literature and discussions with the advisor to develop interpretative perspectives and conducting techniques for these works. This study aspires to serve as a valuable reference for conducting students, music professionals, and enthusiasts