由巴哈的融合創作特性探討三首低音維奧爾琴奏鳴曲之融合藝術

Integrated Art in Bach's Compositions: Bach's Three Sonatas for Viola da Gamba and Obbligato Harpsichord

10.29539/CNABH.201012.0036

陳如萍(Ru-Ping Chen)；林世凌(Shi-Ling Lin)；戴伶螢(Ling-Ying Tai)

巴哈 ； 低音維奧爾琴 ； 奏鳴曲 ； 融合藝術 ； Bach ； Viola da Gamba ； Sonata ； Integrated Art

嘉南學報（人文類）

36期（2010 / 12 / 01）

758 - 772

繁體中文

巴哈(Johann Sebastian Bach, 1685-1750)的創作一向爲學者們熱烈討論的對象，本文主要探究的樂曲－給低音維奧爾琴與大鍵琴的三首奏鳴曲(Three Sonatas for viola da gamba and obbligato harpsichord, BWV 1027-29)不論在學術上或演奏領域皆佔有一席之地。在學術討論中不乏針對創作背景、年代、手稿與詮釋……等做各項的研究，部分結果具有一定的貢獻，但有些卻因缺乏證據上的支持，引發各方說法而難逃無疾而終的命運。對此研究上的窘境，筆者認爲或許可自更具包容性的角度來看待樂曲：「融合」已是學術上公認的巴哈創作特色之一，巴哈擅長運用不同的曲種、風格與音樂素材，輔以自己熟稔的創作技法將其融合爲一完整的藝術作品。本文首將三首奏鳴曲的創作年代與背景做一大致的介紹；其次，低音維奧爾琴已爲一項年代久遠的古老樂器，且現今演奏該三部樂曲者也常以大提琴作詮釋，因此於第一部分簡單介紹了低音維奧爾琴的淵源、特性，以及與大提琴的差異性。接著本文最主要的部分，將分別闡釋巴哈在作品上的融合創作特性，並進一步探討在此三首奏鳴曲中巴哈所運用的不同音樂要素與風格而展現出獨特的融合創作藝術。

The compositions of Johann Sebastian Bach (1685-1750) have always been intriguing subjects for scholars' fervent discussions. This paper primarily examined Bach's three Sonatas for Viola da Gamba and Harpsichord, BWV 1027-29 which have gained footholds both in the academic and performance domains. The academic discussions of these sonatas have entailed examinations of the background, time period, manuscripts, annotations and other aspects of the compositions. Partial results of the discussion are invaluable; however, a number of views, regretfully, have been dismissed due to the lack of supporting documentation. The author believes that to master such a quandary, perhaps taking a truly comprehensive approach to the compositions is required, as one of the academic recognitions of Bach's composing techniques is ”integration.” While Bach was tactful, he delighted in interweaving a variety of genres, styles and musical elements into flawless masterpieces.This paper first provided a general overview of the compositions' background and the time period, It subsequently presented a historical overview of the origin, characteristics of the Viola da Gamba and its comparison with the cello, as Viola da Gamba was a historical instrument which was regularly replaced by the cello in the present performances of these sonatas. Consequently, the central part of this paper was devoted to the examination of one of Bach's composing techniques: ”integration.” Moreover, this paper investigated how Bach utilized and transformed various musical elements and styles into a unique, ingenious and integrated creative art form in these three sonatas.

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