本文內容是筆者於民國109年5月2日於國立清華大學演奏廳所舉辦之獨奏會完整曲目，曲目包括四位作曲家:分別為約翰‧尼波默克‧胡梅爾(Johann Nepomuk Hummel)、馬爾科姆·阿諾德(Malcolm Arnold)、卡米爾‧聖桑(Camille Saint-Saëns)、卡爾‧雅可比(Carl Jacobi)，這四首曲目對低音管演奏家而言皆為不同風格的挑戰，尤其是卡米爾‧聖桑的《為低音管與鋼琴的奏鳴曲，作品168》，優美的音樂線條讓筆者百聽不厭。

胡梅爾《F大調低音管協奏曲》全曲使用大量的分解和弦作為伴奏型態，並以音階、琶音的方式貫穿整首樂曲，當中低音管的高低音域大跳技巧更是此曲的精隨；阿諾德《低音管幻想曲，作品86》七和絃琶音上、下行為此曲的主體，透過音階的方式作為七和絃和聲變換的依據；聖桑《為低音管與鋼琴的奏鳴曲，作品168》使用七和絃、掛留音、長線條樂句為主要特色，全曲皆為弱起拍；雅可比《序奏與波蘭舞曲，作品9》樂曲中將不同風格的樂段完美的連貫在一起，波蘭舞曲中特有的節奏律動貫穿全曲。
演奏胡梅爾的作品，樂句流暢為極為重要；阿諾德的作品以樂曲的堆疊、音響上的擴張為主；聖桑的作品包含不同樂曲風格，段落間需要有明顯的區別；雅可比的作品則需要掌握到波蘭舞曲的獨特節奏感。

I held the “chien-ting wang Bassoon recital”on 2020 2nd of May at National Tsing Hua University Recital hall, the concert program include four composer, Johann Nepomuk Hummel, Malcolm Arnold, Camille Saint-Saëns, Carl Jacobi, the four programs are challenges for different styles for bassoon players, especially Saint-Saëns’s Sonate for bassoon and piano opus 168, never get tired of hearing。

《Bassoon Concerto in F major》 by Hummel is based on the broken chords, scales and an arpeggio, and used amount of wide leap, and wide span skills to be highlight;《Bassoon Fantasy opus 86》by Arnold maintains using arpeggio of seven chord techniques with harmonies, the music chords will be more colorful;《 Bassoon and Piano Sonate opus 168》by Saint-Saëns features seven chords, suspension structures, and long lines of melody, In the beginning of movements start with upbeat, it is one of main points in this sonata; and《 Introduction and Polonaise opus 9》by Jacobi combines many different dance music styles in the piece motive, and add Polonaise rhythms through the whole song. During performing Concerto by Hummel, playing long phrases and fluent articulation are important; Playing Arnold’s Fantasy need to focus on music structures as voice balance, more articulations and expansions; Then, Saint-Saëns’s Sonate contains many different music styles and technics, we should obviously separate by every style ; Last one, Jacobi’s Introduction and Polonaise emphasizes the Polonaise characteristic by tempo with accents which are from upbeat in the begining.

一、中文書目:
黃長發。《西洋音樂百科全書》。臺北市 : 臺灣麥克，1995。
許鐘榮。《古典音樂400年-浪漫派的巨星》。臺北市 : 錦繡，2001。
徐家駒。《低音管指法研究》。臺北市 : 全音，1999。
楊沛仁。《音樂史與欣賞》。臺北市 : 美樂，2001。
康謳 譯。《世界音樂名著譯叢-和聲學》。臺北市 : 全音，1990。

二、外文書目:
Cole,Hugo. Malcolm Arnold: An Introduction to his Music, Faber Music, 1989.
Barry Cooper. Child Composers and Their Works: A Historical Survey, Scarecrow Press, 2009.
Sachs, Joel. Hummel Johann Nepomuk,In The New Grove Dictionary of Music and Musicians, Lodon:Macmillan, 2000.
Stasiak,Christopher. The Symphonies of Malcolm Arnold: Eclecticism and the Symphonic Conception, Tempo. New Series, 1987.
Carl Lachmund,Michael Saffle. Living with Liszt: From the Diary of Carl Lachmund, an American Pupil of Liszt, Pendragon Press, 1995.
Daniel Heartz. Mozart, Haydn and Early Beethoven: 1781-1802: 1781–1802, W. W. Norton & Company, 2008.

三、期刊
Mark Kroll. Hummel and the Romantics, Early Music America, 2007.

四、論文:
王興蘋。〈約翰‧尼波穆克‧胡麥爾F大調低音管協奏曲之音樂分析與詮釋〉(碩士論文)。取自臺灣博碩士論文系統，2009。
居昕庭。〈聖桑為低音管與鋼琴的奏鳴曲，作品168樂曲分析與演奏詮釋探討〉(碩士論文)。取自臺灣博碩士論文系統，2019。

五、網路資料:
Alex Burns. Malcolm Arnold ‘Fantasy for Trumpet’: A Virtuosic Opening!, 2019.
https://classicalexburns.com/2019/06/20/malcolm-arnold-fantasy-for-trumpet-a-virtuosic-opening/

Faber,music. Malcolm Arnold
https://www.fabermusic.com/we-represent/malcolm-arnold

The Guardian. Sir Malcolm Arnold
https://www.theguardian.com/news/2006/sep/25/guardianobituaries.artsobituaries1

Ian Christians. The Hummel project, 2009.
http://www.jnhummel.info/en/objectives.php