• 沒有找到結果。

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。

86

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

87

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

88

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.

89

44 L. Sabaneyev, “Scriabin and the Idea of a Religious Art.” The Musical Times, Vol. 72, No. 1063 (1931):

789-792.

90

參考文獻

樂譜

Scriabin, Alexander. Mazurkas, Poèmes, Impromptus and other Works for Piano. US: Dover, 1973.

Scriabin, Alexander. The Complete Preludes and Etudes for Pianoforte Solo. US: Dover, 1973.

_______. Ausgewählte Klavierwerke. Leipzig: Edition Peters, 1967.

外文期刊

Abraham, Gerald. “The Whole-Tone Scale in Russian Music.” The Musical Times, Vol. 74, No. 1085 (July 1933): 602-604.

Baker, James M. “Scriabin's Implicit Tonality.” Music Theory Spectrum, Vol. 2, (Spring 1980): 1-18

Bass, Richard. “Half-Diminished Functions and Transformations in Late Romantic Music.” Music Theory Spectrum, Vol. 23, No. 1 (Spring 2001): 41-60.

Burgmer, Brigitte. “Chromatic Notation of Music: Transforming Bach and Webern into Color and Light.” Leonardo Music Journal, Vol. 5, (1995): 5-10.

Callender, Clifton. “Voice-Leading Parsimony in the Music of Alexander Scriabin.” Journal

of Music Theory, Vol. 42, No. 2, Neo-Riemannian Theory (Autumn 1998): 219-233

Cooper, Martin. “Scriabin's Mystical Beliefs.” Music & Letters, Vol. 16, No. 2 (April 1935):

110-115.

Garcia, Susanna. “Scriabin's Symbolist Plot Archetype in the Late Piano Sonatas.”

19th-Century Music, Vol. 23, No. 3 (Spring, 2000): 273-300.

Hull, Arthur E. “A Survey of the Pianoforte Works of Scriabin.” The Musical Quarterly, Vol.

2, No. 4 (October 1916): 601-614.

91

Hull, Arthur E. “Scriabin's Scientific Derivation of Harmony versus Empirical

Methods.” Proceedings of the Musical Association, 43rd Sess., (1916 - 1917): 17-28.

Macdonald, Hugh. “'Words and Music by A. Skryabin'.” The Musical Times, Vol. 113, No.

1547 (January 1972): 22-25

Matlaw, Ralph E. “Scriabin and Russian Symbolism.” Comparative Literature, Vol. 31, No. 1 (Winter 1979): 1-23.

Morgan, Robert P. “Symmetrical Form and Common-Practice Tonality.” Music Theory

Spectrum, Vol. 20, No. 1 (Spring 1998): 1-47

Myers, Rollo H. “Scriabin: A Reassessment.” The Musical Times, Vol. 98, No. 1367 (January 1957): 17-18.

Newmarch, Rosa. “Alexander Scriabin.” The Musical Times, Vol. 56, No. 868 (June 1915):

329-330.

Perle, George. “Scriabin's Self-Analyses.” Music Analysis, Vol. 3, No. 2 (July 1984): 101-122.

Sabaneev, Leonid. “Liszt and Russian Music.” The Musical Times, Vol. 77, No. 1122 (August 1936): 689-692.

Sabaneev, Leonid. “Scriabin and the Idea of a Religious Art.” The Musical Times, Vol. 72, No.

1063 (September 1931): 789-792.

Taruskin, Richard. “The Music of Alexander Scriabin by James M. Baker; Scriabin: Artist and Mystic by Boris de Schloezer, Nicolas Slonimsky.” Music Theory Spectrum, Vol. 10, 10th Anniversary Issue (Spring 1988): 143-169

Väisälä, Olli. “Prolongation of Harmonies Related to the Harmonic Series in Early

Post-Tonal Music.” Journal of Music Theory, Vol. 46, No. 1/2 (Spring – Autumn 2002):

207-283.

Wai-Ling, Cheong. “Orthography in Scriabin's Late Works.” Music Analysis, Vol. 12, No. 1 (March 1993): 47-69.

92

外文專書

Adamenko, Victoria. Neo-Mythologism in Music: From Scriabin And Schoenberg to

Schnittke And Crumb. New York: Pendragon Press, 2006.

Downes, Stephen C. Music and decadence in European modernism : the case of

Central and Eastern Europe. Cambridge : Cambridge University Press, 2010.

Hull, A. E.. A Great Russian Tone-Poet: Scriabin. New York: AMS Press, 1970.

Leikin, Anatole. The Performing Style of Alexander Scriabin. London: Ashgate. 2011.

Sabbagh, Peter . The Development of Harmony in Scriabin´s Works. New York:

Universal Publisher, 2003.

Schoezer, Boris de. Scriabin : artist and mystic. New York: Oxford University Press, 1987.

Taruskin, Richard. Defining Russia Musically. New Jersey: Princeton University Press, 2001.

中文期刊

93

Schnabel, K. U.《現代鋼琴踏板技巧》。盧昭洋 譯。台北:全音樂譜出版社,1991。

有聲資料

Scriabin, Alexander. The Composer as Pianist- His Recordings for M. Welte& Soehne (The

Caswell Collection, Vol. 5: Piano Roll Recordings). US: Pierian Recording Society,1926.

線上資訊

JSTOR Arts & Sciences III Collection www.jstor.org/

Naxos Music Online

www.naxosmusiclibrary.com/

Oxford Music Online

www.oxfordmusiconline.com/

相關文件