鋼琴的新音響：拉亨曼《刮葫》研究

New Sounds of Piano: A Study of Helmut Lachenmann’s Guero

德國當代最重要的前衛作曲家之一拉亨曼(Helmut Lachenmann, 1935-)至今共創作六首鋼琴獨奏作品，其中《刮葫》(Guero 1969/1988)是六首當中曲風最為極端、前衛的一曲，全曲幾乎沒有一般傳統的鋼琴樂音，而是將鋼琴陌生化處理，讓它發出類似刮葫(源自南美洲的打擊樂器)的聲響，因此全曲幾乎是由噪音音響所組成，而呈現出拉亨曼獨特的「樂器具像音樂」(musique concrète instrumentale)風格。
在《刮葫》一曲中拉亨曼突破傳統，系統性的解剖鋼琴可以發出各式噪音音響的可能性，讓鋼琴發出前所未有的新(噪音)音響，不但豐富了當代鋼琴曲目的音色、拓展鋼琴演奏技巧，更突破過去大家對於鋼琴音樂的思維，增加了聽眾對於它的想像空間，以上都是《刮葫》對於當代鋼琴曲目所提出的創新與貢獻，使它成為一首重要的當代鋼琴曲目。本文因此主要針對《刮葫》進行詳細的音樂分析，來釐清此曲前衛的風格特色和創新的音響材料與技法，也藉此來理解拉亨曼獨特「樂器具象音樂」的風格特色與思考。

Helmut Lachenmann (1935- ) is one of the most important avant-garde composers of Germany, who has created six pieces of piano works till now. Among them Guero (1969/1988) belongs to the extreme avant-garde works. There are almost no piano sound in traditional sense in the whole piece of Guero. It is elaborated almost with alienated sound. It sounds like Guero (a percussion instrument from South America) and consequently consists of noises full of the perculiar Lachenmann’s style, namely “musique concrete instrumentale”.
Lachenmann systematically anatomize various possibilities of piano sound and let piano produce new noises. It enriches new sounds to the contemporary piano repertoires which extend the piano playing skills and at the same time break through traditional method of composing piano works. Lachenmann brings new vision to his audience. Those are all his innovation and contribution to the piano repertoire so that Guero becomes an important piano work in our time. This paper aims at a detailed analysis of Guero in order to clarify the characteristics and new sound, skills of this avant-garde work, and also to apprehend the features and musical thought of Lachenmann’s “musique concrete instrumentale”.