| 摘要: | 改編曲在西方音樂史的發展過程裡，深受不少作曲家及演奏家們的重視，其中十九世紀浪漫樂派時期係發展最為輝煌的時代，於鋼琴改編曲之領域中，李斯特（Franz Liszt, 1811-1886）、布梭尼（Ferruccio Busoni, 1866-1924）即為最具代表性的人物。
本文擬以李斯特改編自舒曼之藝術歌曲《獻詞》及布梭尼改編自巴赫《Ｄ小調夏康舞曲》為研究範疇，分為四大部份進行研究、論述。第一部份首先就十九世紀鋼琴改編曲之背景為探討標的；第二部份論述李斯特改編舒曼之藝術歌曲《獻詞》，從影響改編者創作的來源開始，以迄該作品的創作技法，為分析探究之對象，最後綜以筆者個人詮釋成一小結；第三部份則論述布梭尼改編自巴赫的《Ｄ小調夏康舞曲》，包括該曲的概略介紹、曲式分析、布梭尼改編手法之特色及筆者個人詮釋；最後，則以李斯特及布梭尼改編手法之異同分析，做一總結。
總括來說，李斯特運用繁複的改編手法，將舒曼的《獻詞》潤飾擴充，顯露絢麗且炫技的演奏效果，以原作而言，大體上保留了作品的內涵；而布梭尼以浪漫派之風格特質呈現出不同於巴洛克時期的音樂特色，尤其在改編的版本中，使用繁複的創作技法，就樂曲本質而言，似有新的詮釋空間。是以，筆者撰文研究此兩首改編曲，除期盼能尋求詮釋與演奏上的平衡點，亦祈增進學習者對此領域文獻的瞭解或音樂演奏詮釋的提升。
Many composers and performers have attached a great deal of importance to music arrangement throughout the history of the development of western music, including Franz Liszt (1811-1886) and Ferruccio Busoni (1866-1924), both of whom specialized in piano arrangement at the height of the Romantic Movement during the 19th century.
The scope of this study includes Liszt’s arrangement of Robert Schumann’s piece Widmung and Busoni’s arrangement of Johann Sebastian Bach’s Chaconne. This paper is divided into four major parts for study and discussion. In the first part, the backgrounds of the arrangements are the focus of discussion. In the second part, Liszt’s arrangement of Schumann’s Widmung is studied and discussed, starting from essence that influenced Liszt’s composing technique involved in arranging the piece. The writer has also included a small section expressing his personal interpretation in this part. The third part discusses Busoni’s arrangement of Bach’s Chaconne, including a introduction of the piece, analysis, and special characteristics of the technique used by Busoni in his arrangements. Finally, a summary is made in which similarities and differences in Liszt and Busoni’s arrangement practices are analyzed.
By and large, Liszt employed a very complicated technique in his arrangement of Schumann’s Widmung, polishing and expanding it, thereby giving it a magnificent and virtuoso performance effect. Whether or not he misrepresented the original intent of Schumann in his music is well worth study. For his part, Busoni’s Romanticist bent changed the original Baroque style of the piece he arranged, but in his version, he maintained, to a large extent, the essence of the original piece. Did he strike a balance between original arrangement and reproducing the essence of the original? This, too, is worth considering. In studying these two arrangements, therefore, the writer hopes to find a balance between interpretation and performance, to further the understanding of literature in this field, and to enhance music performance interpretation. |
