Music Painting: Discovering Water Ambiance of Three Piano Works by Liszt, Debussy and Ravel

音樂作畫：從李斯特、德布西和拉威爾的三首鋼琴曲發現水的意境

10.6793/JNTCA.201104.0259

陳光群(Kuang-Chun Chen)

音樂畫作 ； 水 ； 鋼琴作品 ； 李斯特 ； 德布西 ； 拉威爾 ； water ambiance ； piano works ； Liszt Debussy ； Ravel

藝術學報

88期（2011 / 04 / 01）

259 - 287

英文

李斯特、德布西和拉威爾借由鋼琴表達對水的崇拜與敬仰，水的靈性被他們詮釋的淋漓盡致。李斯特的”Les jeux d'eau á la Villa d'Este”（旅遊歲月Ⅲ）充分表現出水的壯麗，曲子中時常出現顫音與雙機動裝置相互輝映，表現水在瞬間泉湧的活力。德布西的”Reflets dans l'eau”（水中倒影）強調於色彩和意象，是藉不斷變化的和聲完成水的微波和漣漪，曲中五聲音階和全音階詮釋神秘感。拉威爾”Jeux d'eau”（水的嬉戲）的和聲調式大膽創新，以複雜的節奏和技巧變化，描寫出水的變幻莫測。從這三首曲子做比較，我們發現三個作曲家都採用和絃來描寫水的流聲，但因年代和背景的不同，排列和絃的方法突顯了浪漫和印象時期審美觀念的差異。彈奏出水的意境在技巧方面可從作曲家本身和著名鋼琴家彈奏經驗及解讀取得，其主要目的是讓彈奏者能從瞭解不同的觸鍵、節奏、樂句處理方法來詮釋水本身變化多端的性質。

The three piano works by Liszt, Debussy and Ravel express the ultimate passion towards water nature based on tonal approaches of distinguished characters.Franz Liszt constantly creates music that is compatible with piano development. ”Les jeux d'eau á la Villa d'Este” by Liszt portrays the magnificent character of the fountains water, allowing extensively tremolos and trills work in one with double escapement mechanism.The revolutionary use of color was a major aspect for the impressionists, Claude Debussy uses timbre that was pioneering and considered one of his major inventions. ”Reflets dans l'eau” consists of a series of non-conforming triads away from the home key, which symbolizes the idealism of Impressionistic arts full of endless musical ideas.”Jeux d'eau” (Fountain/Water Game) by Maurice Ravel reflects upon an impression of water versatility and mysticism through unique structure of harmonies, which not only distinguishes from that of Liszt's approach, but also unveils innovative technical difficulties and rhythmic figures.Chordal treatments are the primary elements to create the in-depth, variable characters of water ambiance. For instance, Liszt introduces ”Les jeux d'eau” with traditional dominate seventh chordal structure. Ravel, on the other hand, builds the chords in ways that emphasizes perfect intervals.Water mimesis of three works is contingent upon sheer mastering of performing practice, which is to be extrapolated from approaches of authoritative figures-primary sources, namely composer himself and secondary sources, the respected pianists. The article covers technical commentaries in ways to serve as guidance in reaching higher level of artistry.

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