贝多芬歌剧《菲岱里奥》中的多元世界表现  

The Representation of Plural Worlds in Beethoven’s Opera Fidelio

作　　者：杨晓琴[1] Yang Xiaoqin

机构地区：[1]四川音乐学院,成都610042

出　　处：《音乐文化研究》2021年第1期98-113,M0003,M0004,共18页Music Culture Studies

摘　　要：贝多芬的音乐作品中普遍存在着一种对多元世界的表现,这种多元性贯穿了其创作的三个时期。歌剧《菲岱里奥》的创作周期长,且不同程度地包含了作曲家三个不同创作阶段的特点,因而在其众多作品中地位独特,也是颇能体现其作品中多元化世界构建的理想载体。本文旨在从歌剧的“拯救”线索出发,去探索由这一线索串联起来的,在“角色”和“剧情”两个方面共同包含的多元化世界表现。一方面指出歌剧本身的多元性含义,也同时进一步揭示贝多芬这位处于乱世之中的作曲家璀璨的音乐艺术中复杂又真挚的内涵。Beethoven’s compositions are generally characterized by a manifestation of a pluralistic world,and this plurality is present throughout the three periods of his creative works.The opera Fidelio,with its long composition cycle,presents the characteristics of Beethoven’s three different creative phases.It is thus distinguished from other compositions and an ideal model for understanding the construction of a pluralistic world in his works.This article aims to explore the plurality of world expressions that are linked by the"salvation"theme in terms of both"character"and"plot".On the one hand,it shows the meaning of plurality in the opera itself,on the other,it further reveals the complex and sincere connotation of Beethoven’s brilliant musical art in the midst of a troubled world.

关 键 词：多元性 拯救 康德哲学 自由 矛盾 

分 类 号：J653[艺术—音乐]