An Interpretation of Igor Stravinsky’s Three Movements from Petrushka from the Perspectives of Drama, Orchestral Sound, and Piano Techniques

• Main Authors: Lee, Kang-jung, 李康榮
• Other Authors: Sun, Shu-wen
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/64017647752688132960

博士 === 輔仁大學 === 音樂學系 === 101 === In 1921, Igor Fyodorovich Stravinsky’s piano work Three Movements from Petrushka, a transcription from the ballet Petrushka composed by himself, is one of the greatest virtuoso piano pieces in the twentieth century. Yet, a clear difference from the traditional ones lies in the variously rich sonorities which are from the orchestral version. Though Stravinsky emphasized this work was essentially a pianistic piece full of difficult piano techniques. The work completely reveals the thought of orchestral sound in musical texture and dimension. Furthermore, the application of musical elements and various sonorities in each movement is highly related to ballet drama. This dissertation first introduces Stravinsky’s biography and his compositional style, then provides more information of the ballet Petrushka, including its background, plots, and stage performance, as well as formal analyses of Three Movements from Petrushka with a comparison of the ballet scores and piano solo version. Moreover, the arguments on the influence of plots and formal concept are also discussed here as well. Finally, the author provides suggestions on the interpretation of Three Movements from Petrushka from the perspectives of drama, orchestral sound, and piano techniques. It is my hope that this study would help performers better controlling their techniques and deepening their interpretation on the work.