第五章、 《兩首舞曲,作品七十三》與《五首前奏曲,作品七十四》
第七節、 作品七十四第五首
(一)、樂曲分析
全曲很明顯地分為兩段,A 段為第一至第八小節,A’段為九至十七小節,兩大段的 動機、節奏模式等幾乎完全相同,只是音域轉換。全曲為八音音階及神祕和絃的交叉運 用,如開頭前兩個音組即為 C 音神祕和絃,但是以轉位方式將根音換成 F 音;第三與第 四個音組分別為 F 音與降 D 音神祕和絃。斯克里亞賓同樣在中間對位的聲部以半音安 排,有趣的是,在第二小節左手所出現的琶音,本是以增四度構成,中間安插了前面半 音下行─降 E 到重降 E─後的保留音,讓原本的增四度琶音增加了五度與半音的聲響。
譜例 5-7-1《五首前奏曲,作品七十四,第五首》第一至二小節
第三、四小節以一、二小節為原型,作增四度的下行模進。第六小節至第七小節為
A 音神祕和絃,七至八小節分別為 C 音神祕和絃及降 E 音神祕和絃,而右手於第八小節 可明顯地看出八音音階下行,中間省略的 G 音以及降 F 由中間的對位聲部以垂直音程補 充。A’段從第十一小節開始與 A 段相異,原為下行增四度之模進,第十一小節則為上升 大二度─全音之模進,十三小節則以第五小節為原形做減五度上行之移位;十五小節至 十六小節則為第七與第八小節上行增四度之移位,以降 E 音神祕和絃結束全曲。
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譜例 5-7-2《五首前奏曲,作品七十四,第五首》第五至八小節與八音音階
譜例 5-7-3《五首前奏曲,作品七十四,第五首》第十五至十七小節
(二)、音樂詮釋
第五首,以兇猛的(Fier)與好戰的(belliqueux),對照前首形成極強烈的對比,速度約 為快板(allegro),以自信的聲響彈奏。全曲力度變化甚是劇烈,隨著音域反向擴大而作
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漸強,左手低音由完全四度變化至增四度,此不諧和戲劇張力靠著力度一起增強。第六 小節與第七小節可強調重複音 F 與 A,隨著音域漸高升將全曲的緊張度推至最高。A’
段處理方式與 A 段相近,於最後兩小節八音音階下行維持例度的強烈,並在十六小節最 後一拍可給予更強的力度,以較猛爆的方式下行至降 E 音神祕和絃後結束全曲。
譜例 5-7-4《五首前奏曲,作品七十四,第五首》第一至二小節
此曲的琶音形式需依靠手腕的快速平行移動,針對此種特殊音程的琶音需做特別練 習,筆者參考彼得版樂譜,依照譜面上所建議的指法彈奏。踏瓣的使用約一拍轉換一次,
避免聲響累積過多造成混濁的感覺。
譜例 5-7-5《五首前奏曲,作品七十四,第五首》第一至二小節
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42 R. Newmarch, “Alexander Scriabin.” The Musical Times, Vol. 56, No. 868(1915): 329-330.
43 L. Sabaneyev, “Scriabin and the Idea of a Religious Art.” The Musical Times, Vol. 72, No. 1063 (1931):
789-792.
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44 L. Sabaneyev, “Scriabin and the Idea of a Religious Art.” The Musical Times, Vol. 72, No. 1063 (1931):
789-792.
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線上資訊
JSTOR Arts & Sciences III Collection www.jstor.org/
Naxos Music Online
www.naxosmusiclibrary.com/
Oxford Music Online
www.oxfordmusiconline.com/