第一章 多赫南尼(Ernst von Dohnányi, 1877-1960)之生平及創作
第三節 音樂成就與自我定位
音樂學家大衛‧伊文(David Ewen, 1907-1985)曾評論：
「多赫南尼從來沒有成功地在音樂創作中凸顯個人風格，他不允許自己
13“Dohnányi never did succeed in achieving a personal identity in his music. He never allowed himself to be influenced by the new ideas and techniques and idioms springing up all around him. Even on those less frequent occasions when he derived his materials from
Hungarian folk music – following the lead of his celebrated compatriots, Bartók and Kodály – his music never assumed a distinguished personality. He simply never outgrew his love for German postromanticism; and by thesame token he never quite developed from an interesting and charming composer into a great one.”–David Ewen,The Complete Book of 20th Century Music, New York: Prentice-Hall, Inc., 1959.
14“… But he does show humour, if not wit, in some of his lighter works, and what may perhaps pass as a substitute for the latter quality is his craftsmanship. His craft, however, borders upon slickness and academicism, his music is voluble rather than eloquent and there is little individuality.” - Grove’s Dictionary of Music and Musicians
15Way, Joseph,Program notes 2004-2005 Season, Program V, The Diablo Regional Arts
11
哈洛德‧荀貝格(Harold C. Schönberg)在他的著作《偉大的鋼琴家們》(The Great
Pianists)中概述多赫南尼的成就與鋼琴演奏： Association, 2005, 3-4.
16 “Not only is his technical accomplishment extraordinarily complete, but the breadth of his phrasing, his command of tone–graduation and the exquisite beauty of his tone are such as to satisfy the most exacting listener.”
17 “His playing had power and propulsion and extraordinary finesse. Naturally he was a romantic pianist (his recording to the Mozart G major Concerto contains everything that is
12
十九世紀的歐洲作曲家們急欲掙脫西方音樂的深厚傳統，追求新的路線並積 極推動標題音樂，但仍有一派作曲家們堅持以古典音樂為師，堅持純粹音樂的創 作，這些人有布拉姆斯(Johannes Brahms, 1833-1897)、佛瑞(Gabriel Urbain Faure,
1845-1924)、李格(Max Reger, 1873-1916)等人，將傳統音樂帶入另一個新層面。1860 年，布拉姆斯發表了反對華格納與白遼士(Hector Berlioz, 1803-1869)等人推動的新 德意志學派(Neudeutsche Schule)聲明，反對當時戲劇式標題音樂寫作手法的浪漫主 considered bad style today), just as his own compositions are in the romantic style. Later on, Dohnányi was to concentrate on composition and teaching with relatively little public playing.
But when the force of circumstances made it necessary for him to reappear on the concert stage, after World War II, a very old man, it was still apparent that though age might have blunted his fingers, it had not taken away his broad, noble style.”
13
多赫南尼生長的年代，各類反浪漫樂派的運動在當時已非常盛行，除了德國 的布拉姆斯外，法國的德布西(Claude Debussy, 1862-1918)其創作風格也屬反動之 一。而多赫南尼的創作也多多少少受到這些不同音樂形式的影響，雖然他不同於 他的創作，1900 年左右，便已為鋼琴做了許多性格小品(character pieces)。
1905 年，多赫南尼進入柏林音樂院任教，柏林音樂院可說是歐洲的音樂中心 之一，這個職位使得多赫南尼在歐洲的國際聲望站穩了腳步，直到 1915 年第一次 世界大戰爆發，才回到祖國匈牙利。此時間值得一提的是，多赫南尼創作的鋼琴 曲《冬之輪》(Winterreigen:10 Bagatelles, op. 13, 1905)，此曲除了是作曲家為向他 於維也納的朋友告別所作之外，也表明了自己對於身為鋼琴作曲家的傳統與歷史 定位。
18Grymes, James A, ed., Perspectives on Ernst von Dohnányi,Maryland: Scarecrow Press, Inc., 2005, 13
14 作曲家。」20另外，根據多赫南尼的學生哈曼(Milton Hallman)的說法，多赫南尼的 創作風格時常被人與布拉姆斯聯想在一起，卻忽視了他的音樂語法與舒曼的相似
19 “The Winterreigen was a farewell to my friends in Vienna. Each piece was dedicated to a different one, while the dedication of the whole to the spirit of Robert Schumann is revealed in the first piece Widmung by its use of the first melogy from Schumann’s Papillons.” -Grymes, James2005, 116
20在 1955 年 11 月於威斯康辛大學(University of Wisconsin)的演講音樂會中，多赫南 尼說“the most significant Romantic is Schumann.” -Grymes, James2005, 116
21 “Dohnányi remarked in later years that his own style had always been closely associated with that of Brahms, but that many generally failed to note the similarity of his musical language to that of Schumann.” - Milton Hallman, “Erno Dohnányi’s Piano Works,”
American Liszt Society Journal 17, 1985, 50
15
曲》中屢屢使用這樣的方法；此外，布拉姆斯與多赫南尼本身都是出色的鋼琴家，
樂曲之中也能看出這樣的特色，對於鋼琴和聲上的可塑性與豐富性及其踏板的使 用都有充分的發揮。
類似以上敘述的作品不勝枚舉，在創新與守舊衝突的年代，作曲家對自身的 堅持與創作手法的選材，除了收益於自身學習與演奏的作品外，更透過創作的方 式，將自己定位在承襲浪漫主義的後繼之力與接續新思潮的先鋒者。
16 十九世紀知名小提琴家維克多‧馮‧海爾茲費爾德(Victor von Herzfeld, 1856-1919)，
時年作曲家 35 歲，也正處於在各地巡迴演奏的巔峰時期。1912 年 4 月 11 日多赫 南尼自己擔任鋼琴部分演出與魯道夫‧費茲納(Rudolf Fitzner, 1868-1934)在維也納 的哈莫雷夫婦(Hämmerle)22家中首次公開此曲，並於同年 4 月 14 日與魯道夫在柏 林首度公開演奏，7 月 16 日再度於柏林演出，小提琴改由卡爾‧克林格勒(Karl
Klingler, 1879-1971)擔任，而鋼琴則同樣由作曲家本人擔綱演出。
相較於題獻給哈莫雷夫婦的《弦樂小夜曲，作品 10》，此首奏鳴曲反倒較不廣
22多赫南尼將他的弦樂小夜曲作品十(Serenade, op. 10, 1910)獻給哈默雷(Hämmerle)夫 婦，這對夫婦時常邀請音樂家們聚集在家中演奏室內樂，多赫南尼也時常與費茲納的弦樂 四重奏(Fitzner Quartet)在哈默雷家中合作演出。