頁籤選單縮合
題 名 | The Creative Process of Young Beethoven-From Mozart's Violin Sonatas KV 379, KV 380, and KV 296 to Beethoven's Piano Sonatas Op.2=從莫札特小提琴奏鳴曲作品三七九, 三八0, 二九六至貝多芬鋼琴奏鳴曲作品二探討貝多芬青少年時期之創作歷程 |
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作 者 | 李美文; | 書刊名 | 中山人文學報 |
卷 期 | 6 1998.02[民87.02] |
頁 次 | 頁139-168 |
分類號 | 910.9943 |
關鍵詞 | 貝多芬鋼琴四重奏WoO 36; 貝多芬鋼琴奏鳴曲作品二; 莫札特小提琴奏鳴曲作品三七九、 三八0、 二九六; Beethoven piano quartets WoO 36; Beethoven piano sonatas Op.2; Mozart violin sonatas KV 379; KV 380; KV 296; |
語 文 | 英文(English) |
中文摘要 | 貝多芬十四歲時,在克里斯丁.克特勞伯.尼菲(Christian Gottlob Neefe)的教導下,創作鋼琴四重奏,WoO36。WoO36包含降E、C和D大調三首作品,這三首作品受到莫札特小提琴奏鳴曲作品三七九、三八○及二九六的影響很深,其中降E大調的鋼琴四重奏和莫札特作品三七九的曲式和運用題材非常相似,而其它C、D大調的二首作品也分別巧妙的承襲莫札特作品二九六、三八○的手法,貝多芬模仿莫札特小提琴奏鳴曲的特色,大部分表現在創作手法及主題特徵上,所有調性選用、各樂章間的速度、及拍號的選擇,均有異曲同工之處。 一七九五年,貝多芬創作鋼琴奏鳴曲,作品二,題獻給海頓。在這部作品中,從其他作曲家對貝多芬的影響,和借用WoO36題材到作品二的過程,可看到其創作技巧漸趨成熟。在費雪赫夫草稿(Fischhof Sketch 21r)中,可看出貝多芬打算從WoO36借用大量的材料到作品二,例如作品二,第一號的慢板樂章的題材,是借自WoO36第三號的第二樂章;而作品二,第三號,第一樂章,則直接採用WoO36第三號,第一樂章的三個主題材料。 從莫札特的三首小提琴奏鳴曲、貝多芬的WoO36、作品二,第三號的草稿、及作品二中,可以清楚的看到早期貝多芬如何由模仿創作的階段,演進到具成熟創作技巧的過程。 |
英文摘要 | Ludwig van Beethoven wrote Piano Quartets WoO 36 at the age of fourteen in 1785 under the supervision of his teacher Christian Gottlob Neefe. There are three quartets in WoO 36, E-flat, C and D, which were greatly influenced by Wolfgang Amadeus Mozart's Violin Sonatas KV 379, KV380, and KV296. The E-flat Quartet is modeled on KV 379; while those in C and D are more subtly based on Mozart's KV 296 and KV 380, respectively. Beethoven imitated large features of Mozart's Sonatas, in both their general plans and thematic features. All the works have the same layout in movements, comparable sequence of keys, same sequence of tempo and meter indications. The Piano Sonatas Op.2 were completed in 1795 and dedicated to Joseph Haydn. By studying Beethoven's innovations on Op.2 and the materials Beethoven borrowed from WoO 36, we are able to obtain a picture of his compositional growth to maturity. There is a draft of Op.2, no.3, the first movement in the Fischhof Sketch 21r. From the sketch we find that Beethoven intended to borrow quite heavily from WoO 36. The Op.2, no.l slow movement was adapted from Piano Quartet WoO 36, no.3 second movement, and the Op.2, no.3 first movement directly borrowed three thematic ideas from WoO 36, no.3 first movement. Through Mozart's three Violin Sonatas, Beethoven's WoO 36 and Op.2, and the draft of Op.2, no.3, a clearer picture of Beethoven's creative process during his youth is revealed. |
本系統中英文摘要資訊取自各篇刊載內容。