An Interpretation and Edition Comparison for Chamber Orchestra and Piano Accompaniment of Britten's Les Illuminations, Op.18

• Main Authors: Chen, Yun-Chen, 陳澐禎
• Other Authors: Hong, Pei-Chi
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/66635363370679874877

碩士 === 國立臺南藝術大學 === 鋼琴伴奏合作藝術研究所 === 98 === Three hundred years after the Baroque composer Henry Purcell, Benjamin Britten was the first composer in England focusing on operas, oratorios, and vocal works. During his lifetime, he had completed 12 song cycles. Even though song cycle is a new genre in German music history during the Romantic Period, Britten showed the unique taste in his works by means of comtemparary composing technique of his time. The earlier song cycles were completed before 1945, including Our Hunting Father, op. 8 (1936), On this Island, op. 11 (1937), and Les Illuminations, op. 18 (1939), etc. This essay will focus on Les Illuminations, which was originally written for a solo voice and a string orchestra, but was later on revised for a solo voice with piano accompaniment. Here, I am going to compare the two different versions of accompaniment, in order to interpret the orchestral acoustics through the piano. The essay will start out from Britten’s life and his composing style; probing into the text and music in chapter 2; furthermore, to analyze every piece, to compare the interpretations between the two versions of chamber orchestra and piano, and to discuss how to present the acoustics of an orchestra on the piano.