梅湘(Oliver Messiaen, 1908-1992)在二十世紀的法國樂壇獨領風騷，為作曲家、管風琴家、鳥類學者及節奏家。梅湘的創作風格自成一家，以終身對天主教及異國事物的熱情發展出個人化的節奏及和聲語言系統，其中最具代表性的分別是「不可逆行的節奏」(rythmes non rétrogradables)及「有限移位調式」(modes à transpositions limitées)。

1932年梅湘與小提琴家德勃(Claire Delbos, 1906-1959)結婚，遂創作了給鋼琴與小提琴的作品《主題與變奏》(Thème et variations, 1932)及《幻想曲》(Fantaisie, 1933)，並提獻給她。這兩首是梅湘僅有給鋼琴與小提琴的作品，包含了「有限移位調式」及「節奏持續音群」(pédale rythmique)的運用，呈現出梅湘迷人的音樂色彩；在梅湘精心設計的複雜節奏要求下，鋼琴的技巧十分艱難，和小提琴合作的難度亦不容輕忽。

本詮釋報告先對梅湘的生平及獨特的音樂語言作說明，再分析梅湘的作品類別及小提琴室內樂在梅湘作品中的地位，然後介紹德勃並闡述其對梅湘的影響。接著深入剖析與詮釋《主題與變奏》及《幻想曲》，最後整理歸納出自1933年後梅湘即不再創作小提琴相關作品的原因，且從鋼琴合作的視角及梅湘創作技法的發展來定位《主題與變奏》及《幻想曲》的價值。

Olivier Messiaen (1908-1992) dominates the French music scene of the twentieth century, as a composer, organist, ornithologist and rhythmician. His music style is very unique. He develops personalized rhythm and system of homony with the lifelong passion for Catholicism and the exotic things. In his own rhythm and homony, the most representative is “rythmes non rétrogradables” and “modes à transpositions limitées” respectively.

In 1932, Messiaen got married with the violinist Claire Delbos (1906-1959), then composed Thème et variations(1932) and Fantaisie(1933) for piano and violin both dedicated to his first wife Delbos. In all the works of Messiaen, only these two pieces are for piano and violin. These two pieces with the use of “Modes à transpositions limitées” and “pédale rythmique” present the fascinating music color of Messiaen and it is difficult to play the piano part and cooperate with the violinist in order to achieve those complicated rhythms designed by Messiaen.

First, this interpretation report introduces the life and distinct music language of Messiaen. Second, it analyzes the categories of works and focuses on violin chamber music, and then discusses Delbos and her influence on Messiaen. Third, it explores Thème et variation and Fantaisie and provides a different angle of interpretation. Finally, it sums up the reasons why Messiaen did not compose any other works that have the violin part since 1933 and finds the value of Thème et variation and Fantaisie from the perspective of collaborative piano and the development of methods used by Messiaen .

中文書目

連憲升。《奧利維亞‧梅湘：早年生平及其音樂與人格特質》。台北：中國音樂 書房，1992a。

戴維后。《梅湘的音樂─分析「時間的色彩」》。台北：全音樂譜，1990。

Messiaen, Oliver.《我的音樂語言的技巧》(Technique de mon langage musical)。連憲升譯。台北：譯者自行發行，中國音樂書房經銷，1992b。

外文書目

Dingle, Christophert. The life of Messiaen. Cambridge : Cambridge University Press, 2007.

Goléa, Antoine. Rencontres avec Olivier Messiaen. Paris : Editions Slatkine, 1984.

Hill, Peter and Simeone, Nigel. Messiaen. New Haven and London : Yale University Press, 2005.

Messiaen, Oliver. Conférence de Bruxelles. Paris : Alphonse Leduc, 1960.

Messiaen, Oliver. Conférence de Notre-Dame. Paris : Alphonse Leduc, 1978.

Messiaen, Oliver. Music and Color : Conversations with Claude Samuel. Portland : Amadeus Press, 1994.

Nicols, Roger. Messiaen. London : Oxford University Press, 1986.

樂譜

Messiaen, Oliver. Thème et variations. Paris : Alphones Leduc, 1934.

Messiaen, Oliver. Fantaisie. Paris : Éditions Durand, 2007.