巴赫《六首无伴奏大提琴组曲》弓、指法探究

Study on Bowing and Fingering of Bach’s Six Solo Suites of Cello

被世人推崇为大提琴作品中"圣经"的巴赫《六首无伴奏大提琴组曲》,因原稿中没有注明指法和确切的弓法标注,从被后人发现至今一百多年来,产生了众多不同弓、指法的版本。一代代大提琴家在忠于原稿的基础上,根据自己的理解,标注了不同的弓、指法,以便更加多样化地揭示这部作品的内在精神,随之也产生了很多差异化、个性化的理解和异彩纷呈的诠释。本文以20世纪两位世界级大提琴大师保尔·托特里尔和亚诺什·施塔凯尔不同弓、指法的版本,探究大提琴演奏大师在标注弓、指法时的思路和遵循的艺术规则。

Six Solo Suites of Cello by Johann Sebastian Bach,is considered to be the Bible of all the cello works.As there is no specific fingering and bowing annotation in original manuscript,many different versions of bowing and fingering have been created in more than a hundred years since its discovery.To reveal the inner spirit of this work more diversely,generations of cellists annotated different kinds of bowing and fingering according to their own understanding without changing the original manuscript.Thereupon,many different and personalized explanations and various annotations were proposed.The author mainly explores the cello masters’way of thinking and the rules obeyed in annotating bowing and fingering by analyzing the annotations of two prominent cellists in the 20th century——Paul Totrier(French)and Janos starker(American).