臺灣博碩士論文加值系統

睽違了兩百多年，艾爾加（Edward Elgar，1857-1943）為英國古典音樂發展掀起了久違的高潮，其創作中獨到的風格語彙，建立在古典傳統和當時新潮流的影響下。而大提琴協奏曲（Cello Concerto in E minor，op. 85）被認為是艾爾加晚年顛峰時期的最後作品。此曲雖以英國大提琴演奏家杜普蕾（Jacqueline du Pré，1945-1987），充滿直覺，天賦與個人風格的演藝版本最廣為一般人所熟知，但此篇論文以艾爾加在世時親自指揮，與英國大提琴演奏家哈里森（Beatrice Harrison，1892-1965）攜手合作的錄音版本，加上樂譜和相關歷史資料為立基，從更接近作曲家的角度，進一步探討艾爾加大提琴協奏曲演奏及詮釋的其他可能性。

本篇論文共有四個章節及結語，第一章為緒論：講述研究動機及內容，研究方法採質性取向的文本分析（Textual analysis）為主；第二章為樂曲的創作背景與錄音：講述大提琴協奏曲的創作背景、具代表性的兩位英國女性演奏家及1965年前其他的錄音版本；第三章為樂曲分析：此章節為樂譜的觀察及剖析；第四章為樂曲詮釋：貫串第二章和第三章對於樂曲的理解，以文字闡述力行與實驗的結果；結語為整體過程的發現與心得。

研究總結，艾爾加大提琴協奏曲迷人處，在於作曲家的每一個細節間呈現統一性又富變化，從精簡的創作手法中表達深刻的情感，啟發研究者對於邁向演奏家的反思：到達高峰需一步步踏實走過，絲毫不苟。在這嚴謹的過程中又蘊含著包容的開放性，任何人都可對音樂進行各種角度的詮釋，但音樂本身沒有好惡分別，一如大自然能涵容一切。身為演奏者，非常高興並感謝有此機會可以深入感受這首樂曲，這是只有聆賞部分「經典」所感受不到的。





/黃景臻大提琴獨奏會

包凱利尼：《G大調大提琴奏鳴曲》，作品5
舒曼：《五首民謠風小品》，作品102
巴赫：《第四號降E大調大提琴無伴奏組曲》，作品1010
蕭士塔高維契：《d小調大提琴奏鳴曲》，作品40

Edward Elgar (1857-1943) created another peak in the development of classical music in the United Kingdom that had not been seen for over 200 years. The unique style and language in his works was a product of the influence of classic traditions and the contemporary trend of his time. His Cello Concerto in E minor, op. 85, is considered to be his last notable work. Though it is the performance of the British cellist Jacqueline du Pré (1945-1987), with its intuitive, gifted, and personal touch, that has become widely known regarding this work, this paper is based on the recording performed by another British cellist Beatrice Harrison (1892-1965) and conducted by Elgar himself, along with the score of this piece and related historical materials. It seeks to further explore the other possibilities of performance and interpretation for Elgar’s Cello Concerto, from a perspective closer to the ideas of the composer.

This paper contains four chapters and a conclusion. The first chapter is an introduction to the research motive and contents for this paper, with textual analysis of the qualitative approach as its main research method. The second chapter deals with the background and recordings of this work, discussing the background for the creation of this cello concerto and the recordings of the two most representative English cellists, as well as other versions of recording prior to 1965; the third chapter is the analysis of composition, comprising the author’s observation and analysis regarding this music. The fourth chapter illustrates the musical interpretation, connecting the author’s understandings as expressed in chapters two and three, representing the result of verbal explanation and personal experiment. The conclusion sums up the discoveries and feelings during the research process as whole.

In a nutshell, the research of this paper finds that what makes Elgar’s Cello Concerto so appealing lies in the composer’s deep feelings, evident in his cohesive yet versatile arrangement of all the details, expressed through his compact and concise approach of composition. This inspired the author to reflect on what the conditions are for becoming a performer: to reach the pinnacle, one must take each and every step steadily, without tolerating any laziness and compromising any imperfection. Within this strict and meticulous process, however, an open-minded attitude is needed. Every individual is allowed to have their own interpretations of the music from their perspectives, without differentiation of good or bad towards the music in and of itself, just as Mother Nature embraces and tolerates all beings and creatures. As a performer, the author was delighted and very grateful to have the opportunity to explore this piece of music, and to have experienced the scope that goes beyond restricting oneself by merely listening to one so-called “seminal” recording.





/Jing–Zhen Huang Cello Recital

L. Boccherini: Cello Sonata in G major, G. 5
R. Schumann: 5 Stücke im Volkston, Op.102
J. S. Bach: Suite for Violoncello Solo No. 4 in Eb major, BWV 1010
D. Shostakovich: Sonata for Cello and Piano in d minor, Op. 40

目錄 1
譜例目錄 i
表目錄 iii
第一章 緒論 2
第一節 研究動機 2
第二節 研究內容與方法 2
一、文本分析 3
二、文獻探討 3
第二章 艾爾加大提琴協奏曲的創作背景與錄音 4
第一節 創作背景 4
第二節 錄音版本 6
一、艾爾加與哈里森合作的兩個版本 6
二、賈桂琳．杜普蕾與艾爾加協奏曲 7
三、關於其他早期的錄音版本 8
第三章 艾爾加大提琴協奏曲的分析 10
第一節 第一樂章 11
第二節 第二樂章 19
第三節 第三樂章 27
第四節 第四樂章 31
第四章 艾爾加大提琴協奏曲的詮釋 42
第一節 第一樂章 43
第二節 第二樂章 52
第三節 第三樂章 59
第四節 第四樂章 64
結語 82
參考文獻 83

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