충실한 해석자 담론: 리스트의 “피아노 파르티씨옹” (Partition de piano)에 관한 음악비평을 중심으로
Liszt as Faithful Interpreter: Music Criticism about his "Partitions de Piano"
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초록
본고는 프란츠 리스트(1811-1886)의 “충실한 해석자”로서의 대중적 이미지를 탐구한다. 리스트 본인이 명명한 “피아노 파르티씨옹”(Partitions de piano)은 충실하고 세밀한 편곡을가리킨다. 비르투오소로 명성을 떨치던 1830-1840년대 리스트의 충실한 해석자, 편곡자로서의 의미는 무엇인가? 파르티씨옹의 대표작인 베를리오즈 <환상교향곡> 편곡과 베토벤 교향곡의 편곡을 둘러싼 음악비평의 사례를 통해 이 문제에 대해 고찰하는 것이 본고의 목표이다. 본고는 다음 두 가지에 특히 초점을 맞춘다. 첫째, 비평가들의 “충실한 해석자” 담론이 어떻게 구체적으로 파르티씨옹의 미학적 정당성을 공고히 했는지에 주목한다. 여기에서 1차자료인 핑크(G. W. Fink)와 아다미(Heinrich Adami)의 비평에 특별히 유의한다. 둘째, 1830 년대 리스트의 활약의 맥락에서 면밀하고 용의주도한 해석자, 편곡자, 비르투오소의 대중적이미지를 구축하는데 설득력 있는 전략적 수사학의 하나로 “충실성”을 조명하는 것이다. 그런 뒤에 보다 포괄적인 19세기 문화적 맥락에서 충실성 담론에 대한 전망을 넓힌다. 그 담론을 반비르투오소(anti-virtuoso) 논쟁 선상에서 이해하고, 리스트의 대중적 이미지와 전반적인 리스트 비평연구의 방향을 고찰한다.
Abstract
Liszt’s concept of “partitions de piano” underscores his unwavering fidelity to the original, treating it as a “sacred text.” The composer himself validated a new method of transcription through the partition, and contemporary critics and reviewers, including G. W. Fink, Heinrich Adami, and Robert Schumann, also drew attention to Liszt’s meticulous, scrupulous, and faithful approach to the model work. Drawing on the reviews of the partitions of Berlioz’s Symphonie fantastique and Beethoven’s symphonies, this article will demonstrate how the critical discourse on Liszt’s partitions helps to construct his public identity as a faithful interpreter, transcriber, and performer. In a broader context, Liszt’s faithfulness serves as a compelling strategic rhetoric to vindicate himself as a serious virtuoso in the midst of the heated anti-virtuoso polemics of the day.
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