路德維希．凡．貝多芬(Ludwig van Beethoven, 1770-1827)為橫跨古典時期與浪漫時期的音樂家，他不僅承襲了古典樂派的傳統音樂形式與語言，更開啟了浪漫樂派的風格與精神，並從中建立屬於他的個人特色。1802至1803年間，貝多芬正面臨聽力退化所帶來的打擊，寫下了遺書表明對於生活的絕望，但其透過堅強的意志繼續堅持創作，完成了《A大調第九號小提琴奏鳴曲，作品四十七》，並在同年的5月24日在奧加唐劇院(Augarten Theatre)，由貝多芬本人與小提琴家喬治‧布瑞吉陶爾(George Bridgetower, 1779-1860)進行首演。而後因題獻給小提琴家魯道夫‧克羅采(Rodolphe Kreutzer, 1766-1831)，亦得名為克羅采奏鳴曲。與貝多芬先前所譜寫的小提琴奏鳴曲相比，此作品中的小提琴不再居於附屬地位，而是與鋼琴有了更多對話的空間，可說是貝多芬初期與中期作品的分界點，同時亦代表著中期作品的開端。
本報告共分為五個章節：第一章為緒論，包含此論文之研究動機與目的，以及研究方法和架構；第二章為文獻探討，概述貝多芬的生平、重要作品及寫作特色，《克羅采》之創作背景及首演資料；第三章為樂曲分析；第四章為樂曲演奏詮釋，以鋼琴合作的觀點來進行探討與論述；第五章為結語。

Ludwig van Beethoven (1770-1827) was a musician whose life spanned from the classical period to romantic period. He not only inherited the traditional form and language of the classical music, but also opened up the style and spirit of the romantic music between 1802 and 1803, Beethoven was facing the blow of hearing loss, and wrote a suicide note to express his despair in life. However, he had the willpower to complete the Violin Sonata No. 9 in A Major, Op. 47, premiered by himself and the violinist George Bridgetower (1779-1860) at the Augarten Theatre on May 24 of the same year. It was then called the “Kreutzer sonata” because of the dedication to the violinist Rodolphe Kreutzer (1766-181). Also, compared with the violin sonatas previously composed by Beethoven, the part of violin in this work holds a dominant place. Thus, “Kreutzer sonata” can be regarded as the dividing point between his early and middle works, and it even represents the beginning of his mid-term works.
　This study is consisted of five chapters: Chapter one is an introduction on the research motif and objectives, research methods, and the structure of this paper; Chapter two includes the life of Ludwig van Beethoven, and his important works; Chapter three is the music analysis; Chapter four is to discuss the interpretation in a collaborative pianist’s viewpoint; Chapter five is the conclusion.

【中文書目】
李燕宜。《鋼琴‧合作：理論與實例》。臺北：五南出版社，2014。

【翻譯專書】
Orga, Ates.《偉大作曲家羣像‧貝多芬》。蕭美惠、林麗冠譯。臺北：智庫出版社，1995。

May, Robin.《音樂圖像系列3‧貝多芬》。白裕承譯。臺北：萬象出版社，1992。

Brown, Pan.《世界偉大作曲家2‧貝多芬》。葉雪淳譯。臺北：三暉出版社，1994。

Solomon, Maynard.《貝多芬傳》。杜若洲譯 。臺北：中華日報出版社，1984。

Schonberg, Harold C.《從巴洛克到古典樂派》。陳琳琳譯。臺北：久博出版社，1986。

Moore, Gerald.《無愧的鋼琴家》(The Unashamed Accompanist)。鄭世文譯。臺北市：世界文物出版社，1995。

【外文書目】
Szigeti, Joseph. The Ten Beethoven Sonatas for Piano and Violin. Urbana, Illinois: American String Teachers Association, 1965.

Katz, Martin. The Complete Collaborator: the pianist as partner. England: Oxford University Press, 2009.

【樂譜】
Ludwig van Beethoven, Werke für Klavier und Violine. II / Beethoven；herausgegeben von Sieghard Brandenburg. München: G. Henle Verlag, 1974.

【外文論文與期刊】
Setsu, Eya. Beethoven’s“Kreutzer”Sonata An Analysis. Master's thesis, University of Akron, 2021.

Ann, Sunhnne. “Beethoven’s opus 47: balance and virtuosity”. The Beethoven Violin Sonatas: History, Criticism, Performance, 2004.

Kaplan, Mark. Beethoven’s chamber music with piano: seeking unity in mixed sonorities. Cambridge University Press, 2000.

【線上有聲資料】
David Oistrakh & Lev Oborin.
https://www.youtube.com/watch?v=8uPGz7NU-mk. Access 2011.

Anne-Sophie Mutter & Lambert.Orkis
https://www.youtube.com/watch?v=COGcCBJAC6I . Access 2011.

Yury Revich & Fiorenzo Pascalucci
https://www.youtube.com/watch?v=oDKcHewDjr8. Access 2020.

Renaud Capuçon & Martha Argerich
https://www.youtube.com/watch?v=4S1YpypeMvk. Access 2021.

Leonidas Kavakos & Enrico Pace
https://www.youtube.com/watch?v=Zbo1U3e555w. Access 2021.