布拉姆斯與布梭尼改編巴哈〈夏康舞曲〉中之炫技性

• Main Authors: Yung -Kai Tsai, 蔡永凱
• Other Authors: 洪崇焜
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/62036033414980067661

碩士 === 國立臺灣大學 === 音樂學研究所 === 91 === The concept of virtuosity varies according to time and place. The study attempts to interpret Brahms’s and Busoni’s piano transcriptions of Bach’s Chaconne from the perspectives of the nineteenth-century European virtuosity. Three issues are raised in this study: transcription, trans-instrumental imagination, and virtuosity in performing technique. The result of a transcription usually reveals the attitude of the transcriber toward the original text. For nineteenth-century virtuosi/composers transcriptions can serve as “scenarios”, transforming the original text in order to meet their performing needs. Although Brahms’s transcription of Chaconne seems technically less vituosic and more literal than Busoni’s, Brahms’s rendition shows his profound understanding of the musical structure of Bach’s text; particularly, in the restoration of the voice-leading which is only implied in the original text due to the technical feasibility on violin. Busoni’s transcription is discussed in two aspects: his manipulation of the original text and the interpolation. Both contribute in producing the splendid sonority of Busoni’s bravura pianism. Through “trans-instrumental imagination” a composer is able to simulate the sound or effect of individual instrument(s) or even of a full orchestra while writing for piano. Taking three examples from Liszt’s Grandes études de Paganini as models of the notion, this study examines Brahms’s and Busoni’s Chaconnes by the same token. In Brahms’s case, the trans-instrumental imagination is more violin-oriented; while Busoni takes organ instead as intermediate force to invoke orchestral sounds. Instead of dwelling upon detailed discussions of the performing techniques employed in the two transcriptions, this study scrutinizes beyond those techniques to gain an insight into the “inner systems”, from which virtuosity is derived. The challenge of playing with left hand alone provides a premise of virtuosity of Brahms’s transcription, which he entitled “Etude”. Questions as to what Brahms really intended by the title and the true meaning of “etude”, as well as that of “concert-etude”, are also delved in this study. For Busoni, the performing technique per se is indispensable as a means of “exaggeration”, which saturates in all structural levels of the piece and constitutes the very basis of virtuosity. From a historical perspective the two transcriptions can be seen as products of the encounter between the “Bach Revival” and the nineteenth century virtuosity. This study also tries to interpret the historical complexes behind the act of transcription in the two cases, based upon the dialectic of two seemingly contradictory, while co-existing notions: “de-historicization” and “historicization” through transcription.