貝多芬晚期的對位手法

貝多芬的賦格並非突然出現在晚期的奏鳴曲之中，事實上在各個時期的不同作品 中，我們都可以看的到賦格的使用，早期的作品如鋼琴奏鳴曲《作品10 之 2》 (Piano Sonata, Op.10 No.2, 1796–1798) 第三樂章；中期的作品有《英雄變奏》 (“Eroica Variations”, Op.35, 1802)、弦樂四重奏《作品 59 之 3》(String Quartet, Op.59 No.3, 1806) 第四樂章；晚期的作品有晚期奏鳴曲五首、《迪亞貝里變奏曲》 (Thirty-Three Variations on a Waltz by Diabelli, Op.120 ,1819 and 1823) 以及最著名的弦樂四重奏《大賦格曲》(Grosse Fuge, Op.133, 1825–6) 等。另外在交響曲、協奏曲的樂團部份也都可以見到賦格手法的 崇福克司 (J. J. Fux, 1660-1741) 《邁向神殿的階梯》(Gradus ad Parnassum)，教授貝多

21 郭亮吟，〈貝多芬後期作品的復古作品〉。《台南女院學報》，第二十三期。﹝民國九十三

年十月﹞，頁三五七。

20  堂 (St. Stephen's Cathedral) 樂長阿布雷希茨貝格 (Albrechtsberger, 1736-1809) 學習對位 法，與海頓相比雖然較不有名，但他卻較有系統地指導貝多芬，使貝多芬扎實地學習各 方向。在他寫給魯道夫大公 (Archduke Rudolph, 1788–1831) 的信中提到：在那之中，

當然只有德國的韓德爾 (G. F. Handel, 1685-1759) 與巴赫是天才……我們現代人，在完

21 

26 “What he did was to reexamine and transform the principles by which he had been working throughout his whole career……A concomitant aspect of this project was his attempt to rethink the principles of counterpoint that he had learned from Bach and Haydn……, and create a new form of counterpoint out of the reconsideration……The fugue may sound modern to our ears, but it includes almost every traditional academic device of fugue……The sonata was not conceived as a classical monument or an act of piety, but as an act of violence that sought paradoxically to reconquer a tradition in a time of revolution by making it radically new.” Rosen, Beethoven’s Piano Sonatas, 220.

27 “……first, that a dramatic force at white heat underlies them; secondly, that their polyphony stands out only by an aggressive harshness from the polyphony that pervades the rest of the works.”

Donald Tovey. A Companion to Beethoven’s Pianoforte Sonatas: Bar- to-bar Analysis. [London: The Association Board of The Royal Schools of Music], 234.

28 “The sonata style is essentially dramatic, and fugue is related to it as debate is related to drama.” Ibid., 234.

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29 “These six eccentric sonata forms bear the scars of a conflict between two inimical styles—the one dynamic and dialectical, the other rooted in the more static mentality of an earlier age. The ways in which Beethoven handled these antitheses constitute his own contribution to Romantic political thought.” Rumph, 111-112.

30 “(op.111)Beethoven devised another hybrid creation, and perhaps his most searching exploration of the tension between counterpoint and sonata form.” Ibid., 125.

31 “Fugue, it has been pointed out, has a ‘flattening’ effect in Beethoven’s music, creating expanses of dramatically undifferentiated time between more dynamic parts of a sonata form, yet rarely intended for a display of ‘learnedness.’ Alternatively, it can be used deliberately to evoke the style of an earlier age……” William Drabkin, “A Conspectus of Beethoven’s Music,” in The

Beethoven Compendium: A Guide to Beethoven’s Life and Music, ed. Barry Cooper [London: Thames and Hudson, 1991], 203.

32 “Beethoven seems intent on exploring the frictions that result when two distinct historical styles collide. Like prehistoric creatures brought to life within a strange new ecosystem, Beethoven’s contrapuntal themes wreak a fascinating havoc with his sonata forms.” Rumph, 111.

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但即使是如此強調戲劇性對比功能，我們仍然不能忽略掉，賦格本身所具有的一貫 性。使用單一主題做為發展的特色讓賦格能使用最少的主題與動機，達到最大的發展，

也同時具有連貫性。位於發展部的賦格更是如此：它能夠承接呈式部陳述的第一主題與 第二主題動機，利用賦格作音樂與邏輯上的辯證與充份發展，最後再回到再現部；讓奏 鳴曲是擁有巨大且合理的發展部，並利用動機的統一做緊密的結合。

總之，將兩個各具風格的題材置放一起，其實是很難處理的，原因是它們雖具相同 本質，然而在風格上卻極具對比性。貝多芬深知其中難處，他謹慎地處理兩種曲式，微 妙融合了風格轉換樂段之銜接與轉折處，因此在維持架構上的邏輯性與完整性的同時，

也能夠得到戲劇性的張力與創新的音樂風格，進而造成聽覺上刺激的效果，達到前所未 有的表現力。也印證了天才能夠前瞻性地跨越形式的框架與藩籬，而將所有能夠運用的

「形式」與「風格」都融合成為表達內心精神與情感的新媒介。

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嚴謹的賦格曲，或者說是巴洛克時期 (Baroque period, 1600-1750) 的賦格曲式通常 會有至少兩個聲部以上，並分成三個部份：呈示段 (exposition) ，中間段 (middle section) ，結束段 (closing section) 。中間段的調性通常與呈示段互為主屬調、大小調、

或是平行調的關係，而在最後的結束段才會又回到主調去。呈示段一開始會先由其中一 個聲部陳述主題 (subject) 於主調上，接著第二個聲部於五度之上加入，稱為答題或答 句 (answer) 。這個答題若與主題間音程關係完全一模一樣，稱為真答句 (real answer) ； 若為了調性的關係而稍為更動幾個音程關係時，稱為本調答句 (tonal answer) 。答題出 來後，陳述完主題的聲部會接著進行對題 (countersubject) ，與答題同時進行。在所有 聲部都完成主題的陳述之後，便會利用主題的動機進行模進與轉調，稱為插入樂段 (episode) 。另外，特別在結束段，經常為了增加音樂張力，而使用緊急段 (stretto) 的

33 Paul M. Walker. "Fugue." In Grove Music Online. Oxford Music Online,

http://0-www.oxfordmusiconline.com.opac.lib.ntnu.edu.tw/subscriber/article/grove/music/51678 (accessed November 13, 2011)

34 “The most fully developed procedure of imitative counterpoint, in which the theme is stated successively in all voices of the polyphonic texture, tonally established; also the genre designation for a work employing this procedure.” Ernest D. May, “Fugue.” In The Harvard Dictionary of Music, 4^th ed. Edited by D. M. Randel. [Cambridge: The Belknap Press of Harvard University Press, 2003], 336.