舒曼鋼琴作品二十六號《維也納狂歡節》詮釋報告
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2012
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摘要
本詮釋報告之研究主題為德國鋼琴作曲家舒曼（Robert Schumann, 1810-56）於1839年完成的鋼琴作品二十六號《維也納狂歡節》（Faschingsschwank aus Wien, Op. 26, 1839）。
舒曼七歲時由管風琴老師孔曲(J. G. Kuntsch, 1775-1855)啟蒙，從1828年開始拜師費德利希．維克（Friedrich Wieck, 1785-1873），結識了後來成為他妻子的克拉拉(Clara Wieck, 1819-1896)，她雖然小了舒曼9歲，但卻有著不凡的琴藝，經常演奏舒曼的作品，而舒曼的創作靈感也時常來自於克拉拉。
1838年舒曼到維也納尋找出版《新音樂雜誌》的機會，此首作品是他在這段期間所創作的。舒曼原稱此曲為「一首偉大的浪漫奏鳴曲」（Grande sonate romantique），後來正式命名為《維也納狂歡節》。
這首個性小品共有五首樂曲，每一段都有標題及不同的主題，使用的曲式結構明確，有輪旋曲、三段式、兩段式及奏鳴曲式等形式。
本詮釋報告分為六章：第一章為緒論，說明研究動機與目的，及研究的範圍與方法；第二章介紹舒曼的生平、成長背景及鋼琴作品；第三章說明舒曼鋼琴音樂風格；第四章介紹作品二十六的創作背景及結構剖析；第五章則探討各曲的速度變化、旋律線條、段落性格及演奏詮釋；第六章將樂曲的創作經由分析、探討、詮釋並歸納出結語。
Summary The thesis of this interpretation is Robert Schumann’s Faschingsschwank aus Wien, Op. 26, which was composed in 1838-41. Schumann was initially inspired by his organ master, J. G. Kuntsch. When receiving the instruction of music from Friedrich Wieck in 1828, he met Clara Wieck, who became his wife . She demonstrated remarkable performance skills of the piano and frequently played Schumann’s works. More often than not, Schumann drew inspiration from Clara. In 1838, Schumann went to Vienna and sought for chances to release the work, Neue Leipziger Zeitschrift fur Musik, which he composed in this period. Schumann called this piece Grande sonate romantique originally, but renamed it Faschingsschwank aus Wien afterward. This character piece comprises five pieces, and each section has different titles and themes. The structure of this piece is very explicit, which includes Rondo form, Ternary form, Binary form, and Sonata form. This paper has 6 chapters. Chapter Ⅰ is the introduction, which explains the motive, the purpose, the range and the method of this research. Chapter Ⅱ is the background of Schumann and his piano works. Chapter Ⅲ explains the composition style of Schumann’s piano works. Then chapter Ⅳ introduced the composition background and analyzed the structure of this work, Op. 26. Then chapter Ⅴ discussed the tempo change of each piece, the melody line, the character of each section, and the interpretation of performance. Final chapter concluded the composition by analyzed, discussed, and interpreted.
Summary The thesis of this interpretation is Robert Schumann’s Faschingsschwank aus Wien, Op. 26, which was composed in 1838-41. Schumann was initially inspired by his organ master, J. G. Kuntsch. When receiving the instruction of music from Friedrich Wieck in 1828, he met Clara Wieck, who became his wife . She demonstrated remarkable performance skills of the piano and frequently played Schumann’s works. More often than not, Schumann drew inspiration from Clara. In 1838, Schumann went to Vienna and sought for chances to release the work, Neue Leipziger Zeitschrift fur Musik, which he composed in this period. Schumann called this piece Grande sonate romantique originally, but renamed it Faschingsschwank aus Wien afterward. This character piece comprises five pieces, and each section has different titles and themes. The structure of this piece is very explicit, which includes Rondo form, Ternary form, Binary form, and Sonata form. This paper has 6 chapters. Chapter Ⅰ is the introduction, which explains the motive, the purpose, the range and the method of this research. Chapter Ⅱ is the background of Schumann and his piano works. Chapter Ⅲ explains the composition style of Schumann’s piano works. Then chapter Ⅳ introduced the composition background and analyzed the structure of this work, Op. 26. Then chapter Ⅴ discussed the tempo change of each piece, the melody line, the character of each section, and the interpretation of performance. Final chapter concluded the composition by analyzed, discussed, and interpreted.
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舒曼, 維也納狂歡節, Robert Schumann, Faschingsschwank aus Wien, Op. 26, 1839