演奏表現中的直進時間──施納貝爾和布倫德爾的 《華德斯坦》鋼琴奏鳴曲錄音中的速度起伏

Abstract

在西方藝術音樂當中，目前與時間性有關的演奏研究之文獻，大多會取決於樂曲結構的影響而在詮釋時做出速度或是力度上的調節，從而討論「表現時間模式」（expressive timing patterns）的概念。但使用「時間性」（temporality）視角或是「直進時間」或「非直進時間」（linearity time /non-linearity time）概念來探討樂曲結構時間性與演奏家詮釋所著重的時間性之間的關係，卻尚未見到文獻進行研究與討論。 本研究採用Kramer所提出之時間性概念，來分析兩位在彈奏貝多芬鋼琴奏鳴曲上常被認為「典範」的演奏家—施納貝爾（Artur Schnabel）、布倫德爾（Alfred Brendel），探討他們在音樂演奏上的時間性表現，並與貝多芬《華德斯坦》樂譜中不同層級單元長度的時間性，進行交互比對，觀察個別演奏家是傾向於凸顯樂曲結構中的樂音直進變化，抑或是沒有特別的時間性偏重，進而分析出演奏家們是如何再次賦予樂音靈魂並使其綻放屬於他們的獨特光彩。 從時間性分析結果了解到，施納貝爾與布倫德爾在速度的處理上，主要的一致之處為二者都能凸顯樂曲的「直進時間」特質；也就是說，兩者的速度表現都能反映出樂音單元變化的時間性。這可以在二人對於樂句、樂節的凸顯上看到。不論是施納貝爾或布倫德爾，對於樂句單元及樂節單元的轉換處，都會做出速度強烈的起伏變化。由於貝多芬在此樂章中之單元長度所呈現的時間性偏向直進時間的，而二位演奏者的速度詮釋中，施納貝爾針對樂句、樂節轉換處的速度變化較頻繁也較大；因此整體而言，施納貝爾比布倫德爾的速度處理上更加凸顯樂章的直進時間。相對的，布倫德爾的演奏中，非直進時間的成分則相對較大，同時他也非常凸顯樂音的直進變化。

In the realm of Western art music, current studies of musical performance regarding temporality mostly focus on the concept of "expressive timing patterns" by making interpretational adjustments of tempo or dynamics based on the structure of the piece. The discussions adopting temporality or the linearity/non-linearity of time to analyze the structural temporality of a musical piece and its relationship with performers’ interpretation, however, has not appeared in most scholarly references. In this research, I uses Kramer's concept of temporality to analyze the performances of two musicians who are often considered the “canon” of interpreting Beethoven's piano sonatas, Artur Schnabel and Alfred Brendel. The study examines their temporality of their performance, while comparing such temporalities with the temporality another Beethoven’s piece Waldstein based on its musical scores to see whether the individual performers tend to emphasize the linear changes in the musical structure, or whether they do not have a particular temporal bias. I thus make my analysis on how the performers bring the soul of the music to life with their own unique brilliance. According to the temporal analysis to the musical performances, I argue that the similarity between Schnabel and Brendel’s musical interpretation appears to be their mutual emphasis on temporal linearity. That is to say, the tempo in both of their performances of reflect the temporal nature on the changes of musical units. This can be seen in the way they stress their musical phrases and sections. Both Schnabel and Brendel make strong changes of tempos at the transition between different phrases and sections. The temporality of Beethoven's music in this movement tends to present a linear perspective of time, and between the two performers, Schnabel tend to make more frequent changes of tempo in a wider range of difference at phrase and section transitions. Thus, in overall, Schnabel's interpretation of tempo emphasizes more linearity of the movement than Brendel's. By contrast, Brendel's performance demonstrates more of the non-linear temporality, while also emphasizes the linearity of separate notes.