臺灣博碩士論文加值系統

波特西尼 (Giovanni Bottesini, 1821-1889) 身兼義大利著名低音提琴家、指揮家與歌劇作曲家、作曲家於一身。他的作品，是所有低音提琴曲目中，最受到低音提琴家們青睞，也是最常被演出的作品。同時，波氏作品大量廣泛應用低音提琴的泛音列；旋律多採集自歌劇詠嘆調，具有如歌般的美聲唱法式旋律；鋼琴伴奏或器樂伴奏多為輕巧而不厚重的方式鋪陳；建立起波特西尼作品在低音提琴曲目中不墜的地位。

我之所以選擇了波特西尼－十九世紀最偉大的低音提琴家，以及他規模最大的協奏曲來做為研究主題，主要原因在於，我希望寫出台灣第一篇將波特西尼的生平以中文詳盡介紹的論文，能將他的生平大事盡可能完整地以中文呈現是我的一個心願。波特西尼的作品是低音提琴學子們都必須學習的經典作品，他的升f小調協奏曲，可說是他的協奏曲中發展最為完整，且結構最為緊密的一首。在此，我將介紹波特西尼的生平；分析波特西尼樂曲和美聲唱法之間的關係；提出升f小調協奏曲的幾項問題；並且分析該曲曲式；最後比較版本之間的異同處與演奏權威詮釋與市面版本之不同處。最後並提出結論。

Preface
My Thesis bases on the History, Analysis, and the interpretation of Bottesini’s Concerto in f# minor. It also includes a survey of the relationship between Bottesini’s works and the bel canto style. Basically, I emphasize on two subjects, the life of Bottesini and the main debate of the order of Bottesini’s f# Concerto. To be precise, there is no bass history in Chinese, not to mention Bottesini’s biography. Therefore, it is reasonable to approach a thesis that has a wide application.

Part I
Outline of the Thesis

Following is the Outline of my thesis:
Introduction
Chapter One: The Life of Giovanni Bottesini
A) Youth, School Time, Debut Concert
B) Orchestral Bassist and Itinerant Musician’s Life
C) First Journey to American Continent (1846-1849)
D) London Debut
E) Conductor and Opera Composing (1853-1856)
F) More Operas, Conducting Works and Touring as Bassist (1856-1870)
G) Franco-Prussian War (1870-1871)
H) Taking Refuge in England
I) In Egypt, Aida
J) Composer in Italy
K) Director of Royal Conservatory in Parma and his Last Years
Chapter Two: The Connection between Bottesini’s Work and “Bel Canto Style”
A) Bel Canto and the Relation between String Instruments
a) Breathing
b) Resonance
c) Vowel- Formation and “Attack”
d) Sostennuto- Sustanied tone
e) Legato- Slow Scale, registers
f) Portamento
g) The “Messa di Voce”
h) Coloratura, ornaments
The Bottesini’s Connection to Bel Canto
Chapter Three: The Analysis of Concerto in #f minor
A) The main debate: Is it No.1?
B) Analysis
First Movement
Second Movement
Third Movement
C) The differences among Editions
D) From the Orchestral point of view
Chapter Four Performing interpretation
A) Several Editions in Sound Recordings
B) Interpretation from author



Part II
The Part of Main Debate in Chap. 3


Publications consider the Bottesini’s #f minor Concerto as Concerto No.1. Let us look at the subject from a different angle, is it No.1? Three of Bottesini’s concertos were published. Let us look at all these concerto as a whole. For example, if we follow the instruction of Grove Music Dictionary, we will get Botteini’s concertos in this order:
“ Concerto in f# minor, (London 1892)
- Concerto no.2 in b minor, (Vienna, 1950) "also as Concerto in c minor
- Concerto in bravura (Vienna 1950)"-- Passione Amorosa is from concerto di bravura "
If we regard this evidence as correct, it would be untrue to verify a hypothesis from this point of view.
Regards the evidence from my reasearch:the figure extracts from the programme book for the Philharmonic Society, London, Monday, May 8, 1871, We can safely say that, Bottesini’s #f minor Concerto was written in 1867 in St. Petersburg .
Figure 1: One possibility is to assume that at least 2 more concertinos had been performed before #f. (One in 1851 and the other in 1853, both in London). In fact, according to 1853’s review: “the new concerto is well orchestrated and pleasant to listen ”. It seems quite probable that these two performances, 1851 and 1853, were different repertoire. Now, one possibility is to assume that Concerto in Bravura is the first one, and concerto in b minor came after that. Or another possibility is that b minor is earlier than Concerto di Bravura. Indeed, we encounter difficulties when we try to explain some of the conclusion. But there is one thing for sure, in short, the Concerto in #f is the last concerto, not the earliest.

目 錄

序言．．．．．．．．．．．．．．．．．．．．．．．．．．．1
第一章 波特西尼生平
序論．．．．．．．．．．．．．．．．．．．．．．．．．．．8
第一節 幼時、求學時代、嶄露頭角．．．．．．．．．．．．9
第二節 樂團的工作與繁忙的巡迴音樂家 (itinerant musician) 生涯．．．．．．．．．．．．．．．．．．．． ．11
第三節 首次美洲之行．．．．．．．．．．．．．．．．． 12
第四節 倫敦首演．．．．．．．．．．．．．．．．．．． 14
第五節 指揮生涯和歌劇創作．．．．．．．．．．．．．． 16
第六節 更多的歌劇創作、指揮工作與低音提琴演奏巡迴．． 16
第七節 普法戰爭．．．．．．． ．．．．．．．．．．．．18
第八節 英國避難時期．．．．．．．．．．．．．．．．． 20
第九節 埃及時期及阿伊達的首演．．．．．．．．．．．． 20
第十節 義大利創作時期．．．．．．．．．．．．．．．． 21
第十一節 在帕瑪音樂院任教及其晚年．．．．．．．．．．． 23
第十二節 本章結語．．．．． ．．． ．．．．．．．．．． 24

第二章 美聲唱法與波特西尼的作品語法之間的關係
第一節 序論 ．．．．．．．．．．．．．．．．．．．．25
第二節 美聲唱法 (Bel Canto) ．．．．．．．．．．．．．26
第三節 美聲唱法關注的重點．．．．．．．．．．．．．． 29
第四節 波特西尼與美聲唱法的關係．．．．．．．．．．． 34

第三章 波特西尼升f小調協奏曲樂曲分析
第一節 升f小調是第一號協奏曲？．．．．．．．． ．． ．39
第二節 有關波氏的另兩首協奏曲的一些假設與論證 ．．．．42
第三節 曲式分析．．．．．．．．．．．．．．．．．．． 44
第四節 管絃樂配器的特色．．．．．．．．．．．．．．． 94

第四章 #f小調協奏曲版本研究與名家演奏詮釋分析
第一節 版本比較表．．．．．．．．．． ．．．．．．．．96
第二節 代表性演奏家的演奏版本 ．．．．．．．．．．．．98

第五章 結論．．．．．．．．．．．．．．．．．．．．．100

附錄 波特西尼年表 ．．．．．．．．．．． ．．．．．102
參考文獻 ．．．．．．．．．．．．．．．．．．．．．．．107
作者簡介．．．．．．．．．．．．．．．．．．．．．．．．109

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Martin, Thomas. "In Search of Bottesini, Part One." Bass World 10, no. 1, Fall (1983): 6-12.

________. "In Search of Bottesini, Part Two." Bass World 10, no. 2, Winter (1984): 6-12.

________. "In Search of Bottesini, Part Three." Bass World 11, no. 2, Winter (1985): 25-39.



Sarnaker, Benedict. "Onslow, Georges." In the New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, online database. Taunton, MA: Quebecor World, 2001


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________. "Unearthing More Bottesini." Bass World 14, no. 1 (1987): 46.