멘델스존의 《6개의 오르간 소나타, Op. 65, No. 1‐6》에 사용된 이음줄의 이해와 아티큘레이션과 프레이징의 적용
Making Articulation and Phrasing according to Mendelssohn’s Marking Slurs in His Six Organ Sonatas, Op. 65, No. 1‐6
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Interpreting slurs used by Mendelssohn has been regarded as one of the most significant subjects for many organists and researchers who research performance practice of Mendelssohn’s Six Organ Sonatas, Op. 65, No. 1‐6. It is not only because of its complexity of the slurs appeared in scores and manuscripts, but also because of the disagreement among many published treatises about articulation and phrasing related to slurs. However, this paper demonstrates that Mendelssohn uses slurs systematically to show where he wants to clarify his musical idioms for performers. Although he adopts traditional practice to use slurs as J. S. Bach has marked it for creating subtle articulation and legato touch under the slurs, Mendelssohn further develops that slurs clarify structural component, which the performer could read articulation and phrasing by the composer. After observing two examples of Mendelssohn’s Organ Sonatas, it is concluded that he regards slurs as internal parts to show his musical idioms and intends that the musical ideas finally becomes clear when the performers could play them from composer’s markings. Although Mendelssohn sometimes uses slurs to mean simple legato played by performers, many of them are designed to support structural details as well as to indicate practical markings for performers.
Abstract
Interpreting slurs used by Mendelssohn has been regarded as one of the most significant subjects for many organists and researchers who research performance practice of Mendelssohn’s Six Organ Sonatas, Op. 65, No. 1‐6. It is not only because of its complexity of the slurs appeared in scores and manuscripts, but also because of the disagreement among many published treatises about articulation and phrasing related to slurs. However, this paper demonstrates that Mendelssohn uses slurs systematically to show where he wants to clarify his musical idioms for performers. Although he adopts traditional practice to use slurs as J. S. Bach has marked it for creating subtle articulation and legato touch under the slurs, Mendelssohn further develops that slurs clarify structural component, which the performer could read articulation and phrasing by the composer. After observing two examples of Mendelssohn’s Organ Sonatas, it is concluded that he regards slurs as internal parts to show his musical idioms and intends that the musical ideas finally becomes clear when the performers could play them from composer’s markings. Although Mendelssohn sometimes uses slurs to mean simple legato played by performers, many of them are designed to support structural details as well as to indicate practical markings for performers.
참고문헌 (7)
- Brown, Clive, "Classical and Romantic Performance Practice 1750‐1900" (1900), Oxford University Press
- Butt, John, "Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach" (1990), Cambridge University Press
- Keller, Hermann, "Phrasierung und Articulation: Ein Beitrag zu einer Sprachlehre der Musik, in Phrasing and Articulation: A Contribution to a Rhetoric of Music" (1965), Norton
- Laukvik, Jon, "Orgelschule zur historischen Aufführungspraxis" (2000), Carus‐Verlag
- Lohmann, Ludger, "Notated Slurs in Organ Music: Approach to Interpretation, In Goart Research Reports, vol. 1" (2000), Göteborg Organ Art Center
- Mendelssohn, Felix, "Trois Préludes et Fugues, Six Sonates", Alphonse Leduc
- Rosenblum, Sandra P, "Performance Practices in Classic Piano Music" (1988), Indiana University Press