華格納樂劇《紐倫堡名歌手》歷史的啟發與時代的創新

Abstract

德國音樂家華格納，畢生致力歌劇改革及樂劇創作。樂劇作品《紐倫堡名歌手》，脫離悲劇、神話、救贖題材，具喜劇色彩及高度文學與藝術質感，透過此劇展現其文學涵養、藝術理念及民族情懷。論文以《紐倫堡名歌手》為主軸，分成「歷史的啟發」、「時代的創新」兩個面向。「歷史的啟發」面向，探述德國「情歌詩人」到「名歌手」一脈相承詩歌內涵的演變，並且探討16世紀「名歌手」的社會及音樂生活型態及其式微沉寂之因。尤其劇中主要人物漢斯．薩克斯，真實存在歷史的著名名歌手，一生累計無數文學作品，因此有關薩克斯的生平行誼及對後人的影響，亦有諸多探討；以及歷史上「名歌手」之詩歌內涵、形式及其音樂本質皆為探討之核心議題。「時代的創新」面向，則分成「以古喻今的思想理念」、「繼往開來的音樂創新」兩個部分。「以古喻今的思想理念」部分，深入探究華格納與紐倫堡的際遇、創作背景、參考依據。從華格納的創作觀點，理解他在創新中所要傳達的核心理念，以及隱含劇中之「自我投射」與「角色暗喻」等意識形態。劇中懷舊元素的運用及意涵亦是殊異之議題。更從哲學家、音樂學者的觀點及評論，理解《紐倫堡名歌手》本質內涵及所代表的時代意義。「繼往開來的音樂創新」部分，以歷史與創新音樂元素的交融之議題，探討「名歌手」歷史音樂元素「巴爾曲式」、「名歌手詩歌規範」在劇中的實踐；劇中聲樂獨唱、重唱、合唱的音樂內涵與傳統歌劇的差異，從中理解「主導動機」的運作及變化手法。最後回歸音樂分析，〈前奏曲〉展現之民族情懷及音樂內涵；管弦樂配器法；還有「半音效果」、「無限旋律」等創新理念，如何在音樂中實踐？透過研究及不斷反思，闡述華格納創作理念、音樂真諦及作品之藝術價值。Richard Wagner (1813- 1883), a German composer, is characterized by his dedications to opera reform and Music drama (Musikdrama) composition. Switching off the typical subject matters of tragedies, myths, and redemption, Die Meistersinger von Nürnberg (1868), one of Wagner’s works, embodies the quintessence of comedies, which brings off Wagner’s artistic and literal aesthetics, with his composing techniques, artistic visions, and national sentiment all at a glance.The dissertation consists of two sections: “Inspiration of History” and “Innovation of the Times,” with Die Meistersinger von Nürnberg as the main axis. In “Historical Inspirations,” the author explores the evolution of poetry insights from the German “Minnesinger” to the “Meistersinger,” the social and musical life of “famous singers” in the 16th century, and the reasons for their fading into insignificance. In particular, the main character of the play, Hans Sachs, a real historical figure, did exist as a renowned Meistersinger, who published numerous literary works in his life, so the studies on Sachs’ life and his influence on the future generations are included; the core issues to be discussed are the poetic connotations and forms of the historical “famous singers,” and the nature of their music.The section “Breakthrough Innovations” is further divided into two parts: “Drawing parallels from the history” and “Creating new ways for the future.” In the first part, the study looks into Wagner’s encounters with Nürnberg, the context of his work, and the basis for his references, aiming to understand the core concept conveyed in his innovation, and the ideologies of “self-projection” and “character metaphor” implied in the play. The use of nostalgic elements and their meanings are also other focuses in this dissertation, which examines, from a philosophical and musical perspective, the nature of Die Meistersinger von Nürnberg and what it means to an era.The second part focuses on the merge of the old with the new, analyzing the application of the old bar form (Barform) and criteria of being Mastersingers (Tabulatur) in this work, the different musical connotations of the vocal solos, repertoire, and chorus from those of traditional operas, from which the operation and variations of the leitmotif (Leitmotiv) are thus comprehended in the context; the final part of the dissertation ends with some musical analysis, especially of the national sentiment and musical connotation of the prelude, the orchestration, the chromatic scale (Chromatik), the endless melody (Unendliche Melodie), other creative concepts, and ways to put them into practice in music. Through all the research and continuous reflections, Wagner's philosophy behind his creative composition, the true meaning of his music and the artistic value of his works.are well covered and elaborated.