被误解的乐章——贝多芬第三“协奏”奏鸣曲(op.2 Nr.3)第二乐章结构新论  

Mistaken Movement: New Structural Analysis on the Second Movement of Beethoven's Third “Concerto” Sonata(op.2 Nr.3)

作　　者：吕舒妍 

机构地区：[1]解放军艺术学院,北京100081

出　　处：《解放军艺术学院学报》2017年第2期203-206,共4页Journal of PLA Art Academy

摘　　要：贝多芬第三钢琴奏鸣曲(op.2 Nr.3)是贝多芬题献给他的老师海顿的三部奏鸣套曲中的最后一部,这是他个人风格形成的先(先视)现,也是他对奏鸣曲式结构扩张的开端。关于此乐章的曲式结构,国内外的音乐研究者有不同的解析版本,本人经过仔细分析研究,得出了不同于前辈们的结论 :此乐章的曲式结构属于边缘曲式,以循环原则为主,奏鸣原则为辅。这是贝多芬在钢琴奏鸣曲慢板乐章中首次打破常规,采用非规范化的边缘曲式,体现出他既创新又富有逻辑的结构思维和浪漫主义的倾向。The Second Movement of Beethoven＇s Third Concerto Sonata （op. 2 Nr. 3） is his the last one of his sonata trilogy dedicated to his teacher Haydn, which symbolized the appearance of his personal style, as well as the beginning of his expansion for sonata structure. The musical structure of this movement has been analyzed by music researchers from home and abroad into different versions, and I, through careful analysis and research, have concluded a still different one： the musical structure of this movement belongs to a borderline form, which follows mainly cyclic principle and sometimes sonata principle. It is the first time that Beethoven broke rules of adagio movements in piano sonata to adopt unusual borderline structure that presents his creative and logical structural thinking, as well as his preference for Romanticism.

关 键 词：贝多芬 边缘曲式 慢板乐章 奏鸣曲式 回旋曲式 

分 类 号：J647.66[艺术—音乐]