孟德爾頌E小調小提琴協奏曲：從手稿譜探究樂曲的詮釋與演奏

Using the Manuscript to Interpret the Mendelssohn Violin Concerto in E Minor

10.6793/JNTCA.200904.0141

張雅晴(Ya-Ching Chang)

小提琴協奏曲 ； E小調 ； 孟德爾頌 ； 手稿譜 ； 詮釋 ； Violin Concerto ； E Minor ； Felix Mendelssohn-Bartholdy ； manuscript ； interpretation

藝術學報

84期（2009 / 04 / 01）

141 - 160

繁體中文

孟德爾頌E小調小提琴協奏曲的樂譜及錄音版本眾多，該如何詮釋、演奏，莫衷一是，因此，審視手稿譜是回歸作品原型的第一步。手稿譜雖非孟德爾頌對樂曲最後的敲定版，但「更改過的版本，不見得是最好的」；本研究從手稿譜，探究孟德爾頌的原意，針對樂句在版本上的差異詳加比對，從和聲、樂句及演奏技術的層面探討，尋找更多可行的詮釋與演奏方式。研究中發現，手稿譜的樂句，以音樂性及歌唱性為主，並佐以高超、多變的演奏技法，這些句法雖在稍後因某些因素而被修改，但大多卻合理而富趣味，並適合現今演奏者演奏。藉此研究，希望提供演奏者多一種詮釋的參考。

There are numerous printed editions and recordings of the Violin Concerto in E Minor by Felix Mendelssohn-Bartholdy (1809-1847), with each one offering a different interpretation from the next. In an effort to return to a more orthodox interpretation, we examine the original manuscript of the concerto, which shows revisions that were made by Mendelssohn after initially composing the piece, but before its first publication. We then compare the original manuscript and the Henle edition (edited by Ullrich Scheideler 2003); identify dissimilarities between harmonies, phrasings, and performance techniques; and offer arguments for or against the edits. The conclusion is made that the edited manuscript originally contained logical and enjoyable musical phrases even though they were later revised, and that this new understanding of the origins of this concerto further broaden its performance potential.

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