莫札特鋼琴協奏曲之第一樂章研究－以K.413、414、415為例

A Study on the First Movements of Mozart's Piano Concertos K.413, 414, & 415

10.6793/JNTCA.200910.0337

吳嘉瑜(Jia-Yu Wu)

莫札特 ； 鋼琴協奏曲 ； 第一樂章 ； 雙呈示部 ； 奏鳴曲式 ； Wolfgang Amadeus Mozart ； piano concerto ； first movement ； double exposition ； sonata form

藝術學報

85期（2009 / 10 / 01）

337 - 359

繁體中文

獨奏協奏曲的風格形式，由巴洛克轉變到古典時期的過程中，莫札特的鋼琴協奏曲提供了代表性的範例。質量均具的創作，不僅是研究十八世紀協奏曲之重要曲目，也是了解莫札特個人藝術表現最直接的路徑之一。創作於1782年至1783年間的鋼琴協奏曲K.413、414、415，為十七首在維也納所完成的鋼琴協奏曲拉起序幕，對處於生涯轉捩點的莫札特而言，意義非凡。本文分析並比較三首協奏曲第一樂章之形式變化與主題舖陳，發現在看似接近的外貌中，存在著許多的差異，足見作曲家對於時代風格與協奏曲之二元性，細膩的琢磨與深刻的探索。

The piano concertos by Wolfgang Amadeus Mozart has been important as they exemplify solo concerto's transition in style and form from Baroque to Classic period. Characterized in both quality and quantity, Mozart's piano concertos not only contribute to the repertoire of the eighteenth century concertos, but also provide a path for better understanding of his artistry. K.413, 414, and 415 occupied a very special position for being composed during 1782 and 1783, a turning point of Mozart's career. With these three works, Mozart started a highly prolific years writing piano concertos-a total amount of seventeen were accomplished during his Viennese period. The present study analyzes and compares the first movements of the three concertos, focusing on their changes of forms and arrangements of themes. It is found that many differences exist under their similar outlooks, which reveal the composer's great craftsmanship as well as deep concern on contemporary styles while exploring into concerto's essential duality.

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