[[alternative]]The Analysis and Interpretation of Carl Reinecke's Flute Ballade, Op. 288

[[abstract]] 本論文主要探討德國音樂家卡爾．萊內克（Carl Reinecke, 1824-1910）的《長笛敘事曲作品288》作品分析及詮釋探討，為筆者畢業音樂會曲目之一。該作品出自於1908年，是萊內克生平最後一首創作曲目，最初寫給管弦樂團與長笛，樂曲憂傷、音色多變化。萊內克是浪漫樂派著名的鋼琴家與作曲家，再現有文獻研究萊內克的長笛曲目中，大多都是探討《水妖》這首作品以及晚期作品《長笛協奏曲，作品283》，而《長笛敘事曲，作品288》的研究有限。本論文探討《長笛敘事曲，作品288》這首作品，主要呈現筆者的詮釋分析，並比較安德拉斯‧阿多里安（András Adorján, 1950-2023）、伊曼紐爾．帕胡德（Emmanuel Pahud, b.1970）和趙成賢（Sung-hyun Cho, b.1990）等三位長笛演奏家詮釋作品的差異性。 最終結論筆者提出以上三位長笛演奏家除了合作的樂器不同外，阿多里安詮釋樂曲整體較為輕快明亮；帕胡德演奏的管弦樂版本表現力更加突出，在音色與音量上轉變非常清楚，整體的樂曲情緒以及音樂氣氛表現投入較多；趙成賢的演奏整體吹奏風格優美明亮，整體的音色變化上並不明顯，在高音及低音的情緒表達呈現較弱。筆者認為管弦樂團更能突顯樂曲中的表現力，整體速度比原速慢些，更能傳遞想表達的情感。帕胡德在音色及吐音上處理得清楚乾淨，在吹奏部分長音時，運用長笛抖音的技巧讓樂曲旋律延續並更有線條及增加音色的厚度，與阿多里安和趙成賢兩個鋼琴版本相比更勝一籌，而筆者與帕胡德的詮釋較為相近，但在B段開頭加入重音的部分，以及漸慢連接至B段快板，讓樂曲更有情感及表現力，以上詮釋分析提供未來教學者與演奏者參考。[[abstract]] This thesis mainly discusses the performance analysis and interpretation of the German composer Carl Reinecke’s (1824-1910) “Flute Ballade, Op. 288”, which is one of the repertoire of my graduation concert. This work was Reinecke’s final composition, originally written for flute and orchestra in 1908; the music is sentimental with varied timbre. Reinecke is a renowned romantic pianist and composer. Among the current literatures on Reinecke’s flute works, most studies focus on his works “Undine” and “Flute Concerto Op.283”, rather than “Flute Ballade, Op. 288”. In addition to my performance interpretation and analysis of “Flute Ballade, Op. 288”, this thesis also aims to compare the different interpretations by three flutists: Andras Adorjan, Emmanuel Pahud, and Sung-hyun Cho. In conclusion, apart from the differences in their collaborative instruments, Andras’s interpretation is generally more lively and bright. The orchestral version performed by Pahud is more expressive, with very clear transformation in timbre and volume; his overall musical emotion and atmosphere are articulated with more intensity. Sung-hyun Cho’s performance style is beautiful and bright, but the timbre nuances are not very noticeable; his emotional expression between high and low pitch is relatively weak. Overall, I believe that orchestra version is more expressive. Pahud's tempo is slower than the original one, his handling of timbre and articulation is clear and precise. When playing long notes, Pahud uses the technique of vibrato on the flute to extend the melody with a rich timbre. Compared with the version for flute and piano by András and Sung-hyun Cho, Pahud's performance is more impressive. My interpretation is closer to Pahud’s, however, apart from the differences in adding an accent in the beginning of section B and gradually slow down to the fast tempo of section B in order to create more emotional and expressive musical passages. The above information is mainly a reference for future teachers and performers