迴旋的樂思──論析渥佛岡‧阿瑪迪斯‧莫札特單簧管三重奏，K. 498

A Turning Thought in the Music A Research on W. A. Mozart’s Trio for Clarinet, Viola and Piano, K. 498

被稱為「音樂神童」的莫札特，一生中作品無數。在各類樂器的領域中，只要稍有程度的學生都可以開始接觸、演奏他的作品。以技巧的難度而言，莫札特的音樂實在是不難，但在那簡單、不複雜的音符之中卻隱含了極其精華的語彙。他的鋼琴奏鳴曲、各類協奏曲、室內樂…等各類型的樂種中都含有他單純、天籟般的音樂思想。單簧管的演進到了莫札特時代算是一個轉捩點，雖然僅有五個按鍵，倒是已經得到一些作曲家及單簧管演奏家－－如比爾（Joseph Beer, 1744-1812）、陶許（Franz Tausch,1762-1817）及馬宏（John Mahon, c1748-1834）的青睞，譜寫並演奏出協奏曲程度的作品。然而，莫札特對這把樂器所能展現的演奏能力的認知似乎遠超過僅此發展的狀況；再加上結識了好友單簧管家安東‧史塔特勒（Anton Stadler, 1753-1851），莫札特遂譜寫出舉足輕重的單簧管作品。此篇論述以音樂中樂句主題旋律的迴音在樂器間的迴旋為比喻，討論莫札特為單簧管、中提琴與鋼琴所譜寫的《單簧管三重奏，K. 498》。在篇幅中討論創作歷史背景、單簧管樂器製造與作品關係，並分析討論此三重奏的和聲及曲式。盼成為單簧管作品賞析的一塊試金石。

During his lifetime, Mozart has composed numerous pieces. In any kind of instrument, eachstudent with certain skill would have the ability to play and perform the music. However, Mozart’smusic is not as easy as it appears on the sheets, for there is something more deep hidden in thosenotes. We can all be touched by the pure, heavenly-like musical thought in any kind of form suchas sonata, concerto, or chamber music composed by Mozart.The manufacture development of clarinet had come to a turning point in the late-18th century.Although it had only five keys at this time, composers like Joseph Beer (1744-1812)、Franz Tausch(1762-1817) and John Mahon (c1748-1834) found it important enough to play some pieces likeconcerto. Mozart saw more on the instrument, with the help from his acquaintance with clarinetistAnton Stadler (1753-1851), Mozart composed more than one masterpiece for clarinet in the musichistory.This essay focuses on Trio for Clarinet, Viola and Piano, K. 498, discussing Mozart’s life, theconnection between the instruments and his work, and also analyzing the form of the piece, throughthe turning thought in the music. Hope this essay may be a milestone toward clarinet repertoire.