碩士 / 國立臺灣師範大學 / 音樂學系 / 101 / In the history of the development of music, there are only written records regarding the performance of the operas of Franz Joseph Haydn (1732-1809). It was not until the 1960s that musicologist discovered a wide collection of Haydn’s operas in the library of the Esterházy Family in Hungary. After years of research and examination, musicologists revised these scores and transformed them into performable pieces on stage. Likewise, his operas have been performed in front of a wide audience.
Haydn, who established the genre of the symphony and quartet, built up the classical style in instrumental music with his stable, witty, and intelligent compositions. Die Schöpfung, an oratorio he composed in his latter stage, is renowned as one of the three major oratorios in western music. The thinking and structure that influenced his composition of Die Schöpfung and Die Jahreszeiten can be found in his operas, which have undeniable importance in his career. The mature elements in his dramatic music, after endless experiments in his operas, are brought to the audience eventually.
Among his works, this essay interprets the excerpts from Haydn’s operas Il mondo della luna, L'isola disabitata, and La fedeltà premiata. The recitals of particular roles in these operas are chosen to allow us understand Haydn’s operas and the features of his works. This essay is comprised of six parts, focusing on seven arias sung by a mezzo-soprano. With the background of Haydn as a court musician and composer, it explores the style of each stage and the interrelations and mutual influence of these vocal repertoires in order to understand the background of the composition of Haydn’s operas.
From these seven arias, it is discovered that Haydn tends to employ humorous elements in his operas’ scripts. Employing major scales that are bright and vivid in colors, he creates exciting and pleasing atmospheres in his works. Regarding form, most employ binary form – A and B and their complicated variations, which constitute these marvelous pieces. In the introductions, the melodies are played to familiarize the audience with the tune. Modulation is not frequent in these arias; most are modulated in related keys, complying with the features of the Classical Age. Regarding rhythm, they appear in the stable progression of quarter notes and eighth notes. Regarding their melodies, they are mainly elegant and rhythmic.
In a quasi-sonata form, Haydn has the particular melodies repeated to constitute their salient features. The singer should differentiate the emotional twists in different sections to avoid an over-exaggerated interpretation that neglects the balance and symmetric structure Haydn intend to present in his music to maintain the beauty of balance that is special to the music in the Classical Age.
| Identifer | oai:union.ndltd.org:TW/101NTNU5248058 |
| Date | January 2012 |
| Creators | 沈府賢 |
| Contributors | 楊艾琳 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 162 |
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