摘　要

一八七一年二月二十五日，聖桑（Camille Saint-Saëns, 1835-1921）等人創立國民音樂協會（Société Nationale de Musique），宣告法國音樂文藝復興運動（French Musical Renaissance）的開始。佛瑞（Gabriel Fauré, 1845-1924）可說是這個運動進行當中最重要的作曲家之一，他的室內樂作品共有十首，豐富了法國近代室內樂的曲目。
在這十首作品當中，《A大調小提琴奏鳴曲，作品十三》為佛瑞早期的傑作之一，儘管佛瑞本身並不會演奏小提琴，但在小提琴家雷歐納（Hubert Léonard, 1819- 1890）的協助之下，他成功的於曲中探索多種音色變化，使整體的音樂更加豐富而迷人。
本文主要分成三個部分，第一部份先簡述佛瑞的生平、創作風格及他的室內樂作品，第二部份則是敘述佛瑞這首《A大調小提琴奏鳴曲，作品十三》的創作背景及創作手法，最後一個部份則是針對這首作品的演奏技巧及詮釋做更深入的探討。本人期盼透過以上的研究，提供之後的演奏者在面對這首作品時，除了關注演奏技巧之外，也能理解作曲家原本的創作意念，進而呈現出可以精確表達這首樂曲的演奏。

Abstract

The Société Nationale de Musique was founded by Camille Saint-Saëns (1835-1921) and his colleagues in 1871; its establishment marked the beginning of the French Musical Renaissance. Gabriel Fauré (1845-1924) was one of the most important composers among this movement, and all his ten works for different combinations of instrument enriched the repertoire of the French chamber music.
Among these ten works, Sonata for Violin and Piano No.1 in A major, Op.13 is a masterpiece among Fauré’s early works. Although Faure wasn''t an expert in violin, he still experimented on a variety of timbre in this work with the help of violinist Hubert Léonard (1819- 1890).
This document can be divided into three parts. The first part focuses on the Faure’s life, style, and chamber music works. The second parts briefly introduce the work’s background and composing techniques of Fauré’s Op.13. The third part further discusses with performing techniques and interpretations of this sonata. Through the research of this work, author, hopefully, could help violinists will not only focus on the technique stage but also convey the idea of the composer more accurately while playing this work.

目次
前言…………………………………………………………………………………1
一、佛瑞的生平及其室內樂創作…………………………………………………3
1. 生平及其創作風格.................................................................................................3
2. 室內樂作品概述.....................................................................................................8
二、作品十三之創作背景及手法…………………………………………………12
三、作品十三之演奏技巧與詮釋探討……………………………………………23
1. 第一樂章..............................................................................................................23
2. 第二樂章..............................................................................................................31
3. 第三樂章..............................................................................................................38
4. 第四樂章..............................................................................................................44
結語…………………………………………………………………………………51
參考文獻……………………………………………………………………………52

參 考 文 獻

西文書目
Blume, Friedrich. Classic and Romantic Music. New York: W. W. Norton & Company, 1970.
Caballero, Carlo. Fauré and French Musical Aesthetics. Cambridge: Cambridge University Press, 2001.
Cobbett, Walter Willson, ed. Cobbett’s Cyclopedic Survey of Chamber Music. 2 vols. London: Oxford University Press, 1975.
Cooper, Martin. “The Nineteenth-Century Musical Renaissance in France (1870-95).” Proceedings of the Royal Musical Association 74(1947-48): 11-23.
Copland, Aaron. “Gabriel Fauré, a Neglected Master.” The Musical Quartely 10(Oct., 1924): 573-586.
Dahlhaus, Carl. Nineteenth-Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press, 1989.
Ellis, Katharine. Music Criticism in Nineteenth-Century France. New York: Cambridge University Press, 1995.
Ferguson, Donald N. Image and Structure in Chamber Music. Minneapolis: University of Minnesota Press, 1964.
Galamian, Ivan. Principles of Violin Playing and Teaching. Ann Arbor: Shar Products Company, 1985.
Landormy, Paul. “Gabriel Fauré.” The Musical Quartely 17 (Jul., 1931): 293-301.
Loft, Abram. Violin and Keyboard: The Duo Repertoire. Portland: Amadeus Press, 1991.
Longyear, Rey M. Nineteenth-Century Romanticism in Music. Englewood Cliffs: Prentice Hall, 1988.
Nectoux, Jean-Michel. Gabriel Fauré: A Musical Life. Cambridge: Cambridge University Press,1991.
_______. Gabriel Fauré: His Life Through His Letters. London: Marion Boyars Publishers, 1984.
Samson, Jim. The Cambridge history of nineteenth-century music. New York: Cambridge University Press, 2002.
Sobaskie, James William. “Various Instrumental Works by Gabriel Fauré.” Notes (December, 2004): 556-561.
_______. “The Emergence of Gabriel Fauré’s Late Musical Style and Technique” Journal of Musicolpgical Research 22(2003): 223-275.
Steen, Michael. The Lives and Times of the Great Composers. New York: Oxford University Press, 2004.
Suckling, Norman. Fauré. Westport: Greenwood Press, 1979.
The New Grove Dictionary of Music and Musicians (2001). S.V. “Fauré, Gabriel,” by Jean-Michel Nectoux; “Violin,” by Robin Stowell; “Sonata,” by John Rink.
Ulrich, Homer. Chamber Music. New York: Columbia University, 1966.

中文書目
李哲洋。《最新名曲解說全集》〈第十三冊室內樂曲〉。台北市：大陸書店，1988。
音樂之友社，《室內樂曲》，林勝儀譯。台北市：美樂出版社，1997。
陳藍谷。《小提琴演奏統合技術》。台北市：美樂出版社，2005。
黃輔棠。《教教琴•學教琴》。台北市：大呂出版社，1995。
張桂菱。《佛瑞小提琴奏鳴曲作品十三號之樂曲分析與演奏詮釋》。碩士學位詮釋報告：輔仁大學，2007。
羅賓•史托威。《小提琴指南》，湯定九譯。台北市：世界文物出版社，1996。

樂譜
Fauré, Gabriel. Sonata for Violin and Piano, Opus 13. New York: International, 1956.
Mazas, F. Melodious and Progressive Studies, Opus 36. New York: Edwin F. Kalmus.
Paganini, Niccolò. Moto Perpetuo, Opus. 11. Milwaukee: G. Schirmer, 1900.