|標題:||李珮瑜大提琴演奏會 含輔助文件: 蕭邦G小調大提琴奏鳴曲與德意志傳統的對話|
PEI-YU LI CELLO RECITAL WITH A SUPPORTING PAPER: DIALOGUE BETWEEN CHOPIN’S G MINOR CELLO SONATA AND THE GERMAN TRADITION
|關鍵字:||蕭邦;G小調大提琴奏鳴曲作品六十五;奏鳴曲式;德意志傳統;法蘭修姆;Chopin;Sonata for Cello and Piano in G minor opus 65;Sonata form;German tradition;Auguste Joseph Franchome|
In the 19th century, the music culture was dominated by the traditional German style. As a Pole, how could Chopin interact with the different music culture? And did the German style influence Chopin’s G Minor Cello Sonata, which was composed in 1845? The G Minor Cello Sonata was the last composition of Chopin before he died. Also, Chopin showed the great ambition on his compositions in the late period and there are two evidences .First, he created many compositions for different instruments besides the piano, and it was a challenge for him. Second, he tried to prove the ability of composing the mainstream music style, so he used some German style’s character on his works. Even though Chopin put so much effort to make the connection between his work and German style, Chopin didn’t give up to present the Poland style and his own characteristics. In other words, these two different styles were demonstrated on G minor Cello Concerto adequately. Chopin intended to combine his creativity with the traditional German style on this piece, by using the unique material, the form, the key center, which are differ from the traditional sonata form. In conclusion, the G Minor Cello Sonata reveals Chopin’s intelligence of combining the two different aspects, the tradition with the innovation, and the German style with the Poland style.
|Appears in Collections:||Thesis|