CHUN-CHEN PAN VIOLIN RECITAL WITH SUPPORTING PAPER ANALYSIS AND INTERPRETATION OF RAVEL’S SONATA FOR VIOLIN AND PIANO IN G MAJOR
|摘要:||本論文將探討拉威爾的《小提琴奏鳴曲》(Sonata for Violin and Piano, 1923-1927) 此曲是他的第二首小提琴奏鳴曲，1923-1927年創作歷經四年之久。作為拉威爾最後一首室內樂作品，他相信鋼琴與小提琴的不相容性在此種組合下更明顯。
第一次世界大戰之後，因為拉威爾親身經歷其中，使音樂風格有很大的轉變，轉變的特徵最先從《小提琴與大提琴的奏鳴曲》(Sonata for Violin and Cello, 1920-1922)作品中顯現，拉威爾認為《小提琴與大提琴奏鳴曲》此首作品是他音樂風格最重要的轉折點，和聲上的簡樸以及對於線性旋律興趣的增加，複調的使用，開啟通往戰後作品的道路。此首《小提琴奏鳴曲》(1923-1927)延續了《小提琴與大提琴奏鳴曲》的傳統，聲部間有著相當的獨立性，簡約的織度，還有一些複調的片段 。
This supporting document focuses upon Maurice Ravel’s Sonata for Violin and Piano (1923-1927). Composed between 1923 and 1927, this sonata is the second of his two violin sonatas, which took him four years to complete. As the last amongst his chamber music repertoire, Ravel believes that the incompatibility between violin and piano is further highlighted with this genre. After World War I, in which the composer himself was involved, his compositional style had undergone substantial change. This change inaugurates his signature post-war style and was first evidenced in the Sonata for Violin and Cello (1920-1922) which Ravel also believes to be the most important turning point of his musical style, characterized by simpler harmony, increased interest in the melodious contour and the use of bitonality. This Violin Sonata for Violin and Piano (1923-1927) inherits the tradition in the Sonata for Violin and Cello with marked independence between voices, simple texture, and some passages with bitonality. Ravel incorporates various musical styles from the French tradition on the line of Saint-Sëans and Fauré, the French impressionism, and the oriental exoticism following the Exposition Universelle, which altogether matured his compositions with time. This Violin Sonata includes three major styles: the jazz element dominant at the time, the neo-classicism on the rise, and the French impressionism. By probing into the composer’s life and his time, his musical style and background, we gain further understandings of his musical ideas, and through analysis on the work itself and its interpretation, we arrive at embodiment of proper aesthetics and spirit with violinistic techniques and performing sensibilities.