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멘델스존의 청소년기: ≪현악 교향곡≫작곡에서 ≪마태 수난곡≫ 지휘까지

Mendelssohn's Adolescence:From composing String Symphonies to conducting St. Matthew's Passion

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한국서양음악학회 (The Musicological Society Of Korea)|2010.01|서양음악학 (Journal of the Musicological Society of Korea)|제13권 제1호|pp. 85-109

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초록

Felix Mendelssohn's teenage years were studded with extraordinary achievements of a precocious musical genius, beginning with his String Symphonies of 1821~23 and climaxed by his leading of the first public performance of Johann Sebastian Bach's St. Matthew's Passion since the old composer's own life time. String Symphonies can be best understood as a surprisingly mature attempt of assimilating the retrospective forms and contents of the genre, while the performance has been regarded as an epoch-making event in the history of German music. This essay is primarily concerned with tracing the main discourses on the latter, in order to clarify the significance of this event without all the biases accumulated upon it since it happens. The primary issues were the racial controversy surrounding the Jewishness of Mendelssohn and his music as well as the identity of German national music, especially the supremacy of the instrumental over vocal music. The situation was aggravated by the exaggeration of such issues during the Nazi regime. It is necessary to reassess the currency of given musicological discourses in order to establish balanced and unbiased viewpoint concerning such controversial topics.

Abstract

Felix Mendelssohn's teenage years were studded with extraordinary achievements of a precocious musical genius, beginning with his String Symphonies of 1821~23 and climaxed by his leading of the first public performance of Johann Sebastian Bach's St. Matthew's Passion since the old composer's own life time. String Symphonies can be best understood as a surprisingly mature attempt of assimilating the retrospective forms and contents of the genre, while the performance has been regarded as an epoch-making event in the history of German music. This essay is primarily concerned with tracing the main discourses on the latter, in order to clarify the significance of this event without all the biases accumulated upon it since it happens. The primary issues were the racial controversy surrounding the Jewishness of Mendelssohn and his music as well as the identity of German national music, especially the supremacy of the instrumental over vocal music. The situation was aggravated by the exaggeration of such issues during the Nazi regime. It is necessary to reassess the currency of given musicological discourses in order to establish balanced and unbiased viewpoint concerning such controversial topics.

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관련 논문AI추천

멘델스존의 <마태수난곡> 바흐 사후 초연의 배경과 실제, 그리고 결과나주리세계음악학회 · 음악과 문화2008 · 제19호동시대의 현악사중주에 공존하는 두 가지 성향: 고전적인 낭만성 vs 낭만적인 고전성안소영, 이내선한국서양음악학회 · 서양음악학2010 · 제13권 제1호바흐의 마태수난곡: 전통, 변화 그리고 새로움김정숙한국서양음악학회 · 서양음악학2005 · 제8권 제2호Mendelssohn's Other Concerto: the Changing Reception of the Piano Concerto no. 2, op. 40, in D minorMarian Wilson Kimber한국서양음악학회 · 서양음악학2010 · 제13권 제1호문학적 질문과 음악적 대답 : 멘델스존 ≪12개의 노래≫(Zwölf Lieder, Op. 9)와 ≪현악사중주 2번≫(Op. 13)을 중심으로문소진한국서양음악학회 · 서양음악학2019 · 제22권 제2호멘델스존의 《6개의 오르간 소나타, Op. 65, No. 1‐6》에 사용된 이음줄의 이해와 아티큘레이션과 프레이징의 적용안소이한국서양음악학회 · 서양음악학2010 · 제13권 제1호

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