臺灣博碩士論文加值系統

巴赫（Johann Sebastian Bach, 1685-1750）的《六首大提琴無伴奏組曲》（Six
Suites a Violoncello Solo senza Basso, BWV1007-1012）是大提琴界的「聖經」，對
於巴赫的研究，是每一位大提琴家要面對的重要課題。然而，巴赫並沒有留下這
首曲子的手稿，我們只能從他太太安娜以及其他人的手稿當中去揣測巴赫的想法。
由於每個人詮釋巴赫的角度不同，導致現有的詮釋不勝枚舉，諸如仿效古樂的演
奏方式、或因為現代弓的改良而產生的圓滑奏演奏方式等。在諸多的演奏版本中，
本文將舉出兩位對於巴赫《大提琴無伴奏組曲》有深入研究，卻有著截然不同詮
釋方式的大提琴家：卡薩爾斯（Pablo Casals, 1876-1973）與畢爾斯瑪（Anner Bylsma,
1934-2019）。前者著重探究巴赫想透過音樂傳達的「情感」，後者則琢磨於幾個尚
存重要手稿上的「記譜」，據此揣摩巴赫作曲時最初的想法。
本文將先介紹巴赫《第一號大提琴無伴奏組曲》的創作背景，接著簡述卡薩
爾斯與畢爾斯瑪的生平，最後比較並綜合兩位大提琴家的分析與詮釋，作為研究
巴赫《第一號大提琴無伴奏組曲》的重要依據。

畢業音樂會曲目
巴赫（1685-1750）：第一號大提琴無伴奏組曲，作品1007
海頓（1732-1809）：D大調嬉遊曲，給大提琴和鋼琴
卡普斯汀（1937-2020）：近華爾滋，給大提琴和鋼琴，作品98
德佛札克（1841-1904）：b小調大提琴協奏曲，作品104

The "Six Suites a Violoncello Solo senza Basso" of Johann Sebastian Bach (1685-
1750) is proclaimed as the "bible" in the world of cellos, and it's also a crucial research
topic for every cellist. However, Bach left no manuscript of the piece, and we can only
speculate from the manuscripts of his wife, Anna, and others. There are endless
interpretations of Bach cello suites, such as the way Baroque music is played, or the
smooth way of playing due to the improvement of modern bows. Among the various
versions, this paper will dive into the two great cellists, Pablo Casals (1876-1973) and
Anner Bylsma (1934-2019), who have in-depth research on Bach's cello suites but have
completely different interpretation methods. The former focuses on the "emotions" that
Bach wanted to convey through his music, while the latter examines the "notations" of
several important manuscripts that still exist and uses them to figure out what Bach had
in mind when he composed his music.
This paper will first introduce the background of Bach's Suites a Violoncello Solo
senza Basso, no. 1 and briefly describe the lives of Casals and Bylsma, and finally
compare and synthesize the analyses and interpretations of the two cellists in their study
of Bach's Suites a Violoncello Solo senza Basso, no. 1, as well as unify the main points
of this paper and draw conclusions.

Graduation Recital Program
J. S. Bach (1685-1750): Cello Suite No. 1 in G Major, BWV 1007
J. Haydn (1732-1809): Divertimento for Cello and Piano in D Major
N. Kapustin (1937-2020): Nearly Waltz for Cello and Piano, op. 98
A. Dvořák (1841-1904): Cello Concerto in b minor, op. 104

第一章 緒論 .. 1
第一節 研究動機與目的 .. 1
第二節 文獻探討 .. 2
第三節 研究範圍與方法 .. 2
第二章 巴赫《第一號大提琴無伴奏組曲》創作背景 .. 3
第一節 巴赫的科坦時代 .. 3
第二節 關於曲名 .. 4
第三節 關於巴洛克組曲 .. 6
第四節 樂器 .. 8
第五節 樂譜版本 .. 10
第三章 卡薩爾斯與畢爾斯瑪的生平背景 .. 14
第一節 卡薩爾斯的生平與理念 .. 14
第二節 畢爾斯瑪的生平與樂器 .. 16
第四章 巴赫《第一號大提琴無伴奏組曲》綜合研究與詮釋 .. 20
第一節 前奏曲 .. 21
第二節 阿勒曼舞曲 .. 30
第三節 庫朗舞曲 .. 36
第四節 薩拉邦德舞曲 .. 41
第五節 小步舞曲 .. 44
第六節 吉格舞曲 .. 50
第五章 結論 .. 55
參考文獻 .. 56

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譜源
Anonymous (ca. 1775-1800). 6 Suite a Violoncello Solo Del Sig. Joh. Sed. Bach. Kassel: Bärenreiter. Retrieved 12 June 2020, from https://imslp.org/wiki/6_Cello_Suites,_BWV_1007-1012_(Bach,_Johann_Sebastian)
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影音資料
Bylsma, Anner (2000). J.S. Bach: Cello Suite No.1 In G Major BWV 1007 - Anner Bylsma. Retrieved 18 July 2020, from https://youtu.be/qTVqjD4Yigg.
Casals, Pablo (1954). Pau Casals: Bach Cello Solo Nr. 1, BWV 1007. Retrieved 18 July 2020, from https://youtu.be/KX1YtvFZOj0.