臺灣博碩士論文加值系統

尤里士．里茨（Julius Rietz, 1812- 1877），為十九世紀德國作曲家、指揮家與大提琴家，同時為一名優秀的樂譜編輯者，編輯了大量的音樂家作品，為後世留下龐大價值的音樂書庫。里茨的音樂深受孟德爾頌的影響，帶有古典樂派的調性手法，同時加入了浪漫樂派的創新語法。里茨的作品數量不多但種類多元，創作了歌劇、舞台劇、序曲、交響曲與協奏曲等等。
本首樂曲創作於1856年，里茨的四首協奏曲中，唯一以Konzertstück （concert piece）命名的獨奏協奏曲作品。樂曲分為三個樂章，而樂章間並沒有終止，為連篇式樂曲。里茨的音樂沒有太難的技巧，融合了古典與浪漫的特色，創造了優美的線條、動人的聲響。十九世紀為一個交替的世代，因此產生了許多分歧的理論。本文首先了解作曲家生平及十九世紀音樂風格，並分析樂曲的架構，融合觀點後探討樂曲的詮釋。全文可分為五個章節，分別為緒論、作曲家生平及創作風格與特色、樂曲分析、樂曲詮釋與結語。期許透過本文給予日後演奏者詮釋的參考。

Julius Rietz（1812-1877）is a German composer, conductor and cellist in 19th century. He is also a great editor of music school, who had edited a large number of musician’s works, and left lots of music score for posterity with great values. Rietz’s music was influenced by Mendelssohn. He kept the tone of the aesthetic of classical period, but also added the innovative elements of romanticism music into it. Rietz does not have much works, but varieties of genres. His works include operas, dramas, overtures, symphonies and concertos.

The oboe concert piece was composed in 1856; it is the only one of Rietz’s four solo concertos, which named Konzertstück（concert piece）. It is a one-movement work, which divided into three parts and without intermissions. Rietz’s music lacks of virtuosity of performing techniques but combines the features of classical and romanticism, creating the beautiful music lines and moving sounds. The 19th century is a crossover generation for classical and romanticism, and therefore it induced many different theories of performing interpretation. This article is at first to understand the composer's life and music styles in 19th, and presents analyzes of the structure on this work. According to mentions ideas, the author explores the interpretation of this work. There are five chapters in this thesis. Chapter one is introduction; chapter two is a study for Rietz’s life, his compositional style and characteristics; chapter three is the analysis of this work; chapter four is an interpretation of the performance of this work which based on previous chapters; chapter five is the conclusion.

輔助文件摘要 vii
Supporting Paper Abstract viii
表目錄 x
譜例目錄 x
第一章緒論 1
第一節研究動機 1
第二節研究範圍與方法 2
第二章作曲家生平及創作風格與特色 3
第一節里茨生平概述 3
第二節協奏曲作品Konzertstück的定義與特色 6
第三節里茨的音樂風格 8
第四節里茨的創作特色與手法 9
第三章樂曲分析 13
第一節第一樂章 13
第二節第二樂章 21
第三節第三樂章 31
第四章樂曲詮釋 38
第一節詮釋要點 38
第二節第一樂章 43
第三節第二樂章 48
第四節第三樂章 53
第五章結語 59
附錄里茨作品列表 60
參考文獻 62
音樂會節目單 63

一、 中文書目
許汝紘。《圖解音樂大師(上)》。台北: 華滋文化，2013。

康樞。《和聲學多種和聲法的詮釋與分析。》台灣: 台灣商務，1998。

邁可．雷朋、亞倫．肯道爾。黃寤蘭編。《西洋音樂百科全書3、4 浪漫時期音樂》。台北市: 台灣麥可，1994。

二、 西文書目

Brown, Clive. Classical and Romantic Performing Practice 1750-1900. Oxford : Oxford University Press, 1999.

Grove, George. A Dictionary of Music and Musicians, vol.1. London: Macmillan and Co., 1879.

Halford, Margery . The Romantic Era: An Introduction to the Keyboard Music. Los Angeles, CA : Alfred Music, 1978.
Longyear, Rey M. Nineteenth-century romanticism in music. Englewood Cliffs, NJ : Prentice Hall, 1988.

Maitland, Fuller. Grove’s Dictionary of Music and Musicians, vol.4. London and New York: Macmillan, 1908.

三、 電子文獻

Andrew V. Jones and Will Crutchfield. Cadenza. In Grove online. 2002.
David Fuller. Pause. In Grove online. 2001.
Dwight, John Sullivan (October 27, 1877). "Dr. Julius Rietz". The Musical Times and Singing Class Circular, Vol. 18, No. 416 (Oct. 1, 1877), pp.490-491. Musical Times Publications Ltd.
Eva Badura-Skoda, Andrew V. Jones and William Drabkin. Cadenza. In Grove online. 2001.
Jim Samson. Romanticism. In Grove online. 2001.
"Konzertstück" in Grove Music Online.
"Konzertstück" in Encyclopædia Britannica online.
Mell, Albert and Wiegandt, Matthias. Rietz, Julius. In Grove online. 2001.
Richard Cohn, Brian Hyer, Carl Dahlhaus, Julian Anderson and Charles Wilson. Harmony. In Grove online. 2001.

四、 樂譜資料

Rietz, Julius. Konzertstück edition for Oboe and Piano, Op.33. Leipzig: Breitkopf & Härtel, 1896. V. A. 1539.

Rietz, Julius. Concert piece edition for Oboe and Piano, Op.33. Leipzig: Breitkopf & Härtel, 1975. MR 1829.