王乙先鋼琴演奏會 含輔助文件 蕭斯塔科維奇《二十四首鋼琴前奏曲，作品34， 第2、6、8、9、11、15、17、24首》之詮釋與演奏探討

Abstract

Shostakovich spent merely three months creating this early work 24 Preludes, op. 34 at the end of 1933. His works in that period were written expeditiously, without hardly any correction, just as the stage and movie incidental music that he composed at this time. The function of his works in this period was to propogate the purpose of the Soviet Union. Under this view, some would believe that his early works were without deliberation, therefore less important than his symphonies and string quartets. Nevertheless, Shostakovich was inclined to cite from his own works, the materials and concepts, as well as the characteristic duality in the construction of his musical composition; these Preludes therefore foreshadowed that which can be found in his later works. In this paper, I have chosen eight pieces from op. 34, no. 2, 6, 8, 9, 11, 15, 17, and 24, which share the popular contemporary dance characters in common. There are two aspects to my studies: 1. by combining an understanding on his contemporaneous works and compositional design, each Prelude is given an imaginary story to better express my interpretation; 2. by relating to the relevant popular dances of the time, each Prelude is given a stylistic approach in order to enhance the dance characteristics of the music. The purpose of the study is to research into the compositional style of the piano works of Shostakovich’s early period, by observing how he integrates multi sources into these early Preludes, which deserve more attention as concert pieces and teaching materials.