發展左手鋼琴演奏的歷史約有一百五十年，而為左手創寫的左手鋼琴協奏曲，也在左手獨臂鋼琴家保羅．維根斯坦的影響下，留下許多深具歷史意義之創作。本論文研究為左手而作的單樂章鋼琴協奏曲之風格特色，討論範圍包含拉威爾《為左手的協奏曲》、理察．史特勞斯的《補遺》與《雅典娜大祭》以及布禮頓《一個主題的遊戲》，針對樂曲結構、主題材料的運用、管絃樂法的安排、左手鋼琴技巧等創作語法，加以分析研究。
本論文包括緒論外，共分四章。第一章為左手鋼琴曲之起源，闡述左手鋼琴演奏的原由與因素，以及左手鋼琴曲創作發展的歷程。第二章為左手鋼琴協奏曲的創作背景，包括全盤性的文獻探究與四首左手鋼琴協奏曲的創作背景。第三章乃詳細的探討分析拉威爾、理察．史特勞斯與布禮頓的左手鋼琴協奏曲之創作語法。
此四首左手鋼琴協奏曲中，拉威爾《為左手的協奏曲》、理察．史特勞斯的《補遺》是由單樂章多段落所構成，理察．史特勞斯《雅典娜大祭》是以帕薩加里亞形式而成的交響練習曲，而布禮頓《一個主題的遊戲》是附有樂曲名稱的主題變奏曲。此外，在管弦樂團的配器上，作曲家們均利用管弦樂團中的樂器色彩補足獨奏的鋼琴所不足的音響效果，包括利用豎琴、木管樂器組合為伴奏、管弦樂團作為和聲的支撐、加入打擊樂器製造氣勢與力度的表現，而理察．史特勞斯在《雅典娜大祭》中還加入鐘琴與鋼片琴來增添樂曲的不同色彩。鋼琴技巧的利用也十分包羅萬象，在此四首鋼琴協奏曲中，拉威爾在他的《為左手的協奏曲》之兩段裝飾奏裡匯集了各種艱深的鋼琴技巧，而理察．史特勞斯也在《雅典娜大祭》集左手鋼琴技巧之大觀，布禮頓對左手鋼琴協奏曲注入不同美學觀，採以鋼琴的全部音域與傳統的雙行大譜表，展現不同之觀點。

The history of the development of the piano works for left-hand has spanned for more than one hundred and fifty years, and the piano concertos for left-hand, which made special historical significance in the concerts, were mostly written for one-arm pianist Paul Wittgenstein. The purpose of the thesis is the study of the stylistic features of one-movement piano concertos for one-hand, including Concerto pour la main gauche by Ravel, Parergon and Panathenaenzug by Richard Struass, and Diversions by Britten. The discussions contain the structure, form, orchestration, and performing technique.
The contents of the thesis includes four chapters, in addition to the introduction. The first chapter discusses the general historical background for the creation of left-hand playing, and the development of the creation of the piano works for left hand. The second chapter is basic literature research for the piano concertos for left hand, and introduces the creative background to four piano concertos for left hand. The third chapter emphasizes the detailed analysis of the piano concertos for left hand of the selected works of Ravel, Richard Strauss and Britten.
In the four left-hand piano concertos, Concerto pour la main gauche and the Parergon are designed in multi-sectional stracyure, the Panathenaenzug is planted for a symphonic studies in Passacaglia form and the Diversions is in a form of thematic variations in which each variation is characteristic in different title. In addition, composers frequently make use of the different instrumental colors of orchestra to replenish the lacks of rich acoustics of the piano playing, including accompaniment, support of harmony, momentum and dynamic of sounding expression. Richard Struass’s Panathenaenzug employs the glockenspiel and celesta to enrich the sounding expression. The difficulties of left-hand piano techniques are variable; Ravel use the different and difficult piano skills in his two candenzas, Richard Struass’s Panathenaenzug is also collected left-hand piano techniques in it, and Britten’s Diversions is in different point of view that the composer employs the whole register of eighty-eight keys to makes this piano concerto sounding rich.

目 次

緒 論………………………………………………………..………...2

第一章 左手鋼琴曲之創作與發展…………….…………9
第一節 左手鋼琴曲的興起………………………………10
第二節 左手鋼琴曲的發展………………………………..15

第二章 左手鋼琴協奏作品………………….…………....21
第一節 左手鋼琴協奏曲…………………………………..23
第二節 四首單樂章左手鋼琴協奏作品…………………28

第三章 單樂章左手鋼琴協奏曲……………….………...36
第一節 拉威爾的《左手鋼琴協奏曲》…………………..37
第二節 理查．史特勞斯的《補遺》………………..52
第三節 理查．史特勞斯的《雅典娜大祭》………………62
第四節 布禮頓之《一個主題的遊戲》…………………..81

第四章 結 論………………………………………………..95

參考書目……………………………………………………….…….102

參考書目


中 文


大衛．古特曼。《普羅高菲夫》。白裕承譯。台北市：智庫出版
社。民國八十五年五月。

羅倫斯．戴維斯。《拉威爾管弦樂》。溫宏譯。台北市：世界文
物出版社。民國八十六年五月。



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樂 譜


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