리스트 즉흥연주의 진화, 1820-1850: 그 문화횡단적(cross-cultural) 사고
Liszt’s Cross-cultural Mindset in his Relationship with Improvisation, 1820-1850
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본고는 프란츠 리스트(1811-1886)의 즉흥연주에 대한 사고를 탐구한다. 1820-1850년대에걸쳐 리스트는 서유럽 비르투오소 즉흥연주자로 그의 명성을 떨쳤고, 동시에 그의 헝가리-집시 즉흥연주에 대한 이해를 확충하며 그의 저서와 작곡에 반영하기도 하였다. 기존의 연구가서유럽과 헝가리-집시라는 양대문화에 기인해서 리스트와 즉흥연주의 관계를 조명했다면, 본 논문은 그 두 문화의 융합과 연계에 초점을 맞춘다. 필자는 다음 네 가지에 특히 초점을 맞춘다. 첫째, 1820년대 즉흥연주에 대한 리스트의 문화융합적 사고에 주목한다. 둘째, 1830-1840년대의 즉흥연주에 대한 비판과 리스트의 해결책을 살펴본다. 셋째, 1840-1850년대의 즉흥연주 쇠퇴와 역으로 부상하는 리스트의 헝가리- 집시 즉흥연주에 대한 탐구에 집중한다. 마지막으로, 이러한 흐름을 바탕으로 리스트에게 즉흥연주는 작곡과 연주의 경계를 모호하게 하는, 또한 서유럽과 헝가리-집시의 경계를 넘나드는 중요한 음악적 매개체였음을 이해한다. 이상의 네 가지에 주목하면서 필자는 리스트의 실용적이면서도 이성적인 대응, 평가절하적인 즉흥연주에 대한 진지한 탐구, 혁신적인 문화융합적 사고를 다각도로 분석한다.
Abstract
Liszt’s relationship with improvisation from 1820 to 1850 is inextricably bound to his involvement with the two cultures of the Western European virtuoso piano tradition and Hungarian-Gypsy tradition simultaneously. Whereas the existing studies on Liszt’s improvisation tend to relate the subject to each of the traditions separately and differently, my goal is to destabilize the dichotomies between Western European and non-Western, mainstream and peripheral, and art and folk, ultimately revealing Liszt’s cross-cultural approach to improvisation and its related compositions. Drawing on the evolution of his approach to improvisation, this article examines his early synthesis of the Czernian tradition and Gypsy improvisation in the 1820s, his pragmatic and idealistic response to anti-improvisation discourse in the 1830s and 1840s, and his deep, mature understanding of Gypsy improvisation in the 1850s. This evolution reveals his concept of improvisation, which constantly blurs composition and performance, and most of all, represents the unique cross-cultural thought underlying his practice of improvisation.
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