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19세기 비르투오시티(virtuosity), 리스트의 비르투오시티, 그 연구의 재점검과 방향 모색

Mapping Virtuosity and the Virtuoso; Liszt’s Virtuosity (2018)

김현주
한국서양음악학회 (The Musicological Society Of Korea)|2019.05|서양음악학 (Journal of the Musicological Society of Korea)|제22권 제1호|pp. 181-230|DOI dx.doi.org/10.16939/JMSK.2019.22.1.181

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참고문헌

키워드

시각화visuality프란츠 리스트Franz Liszt비르투오시티비르투오소기악 비르투오시티반-비르투오소 담론virtuosovirtuosityinstrumental virtuosityanti-virtuosity polemics
주제분류음악학

초록

19세기 비르투오시티(virtuosity)와 리스트의 비르투오시티에 대한 연구는 다양한 시각에서 꾸준히 축적되었다. 본고는 이 주제에 관한 1980년대 후반부터 본격적으로 진행된 연구를 재구성, 재점검, 재평가하고, 그 연구의 방향을 모색한다. 19세기 ‘기악’ 비르투오시티를고유하게 하는 사회적, 미학적, 철학적 근거는 무엇인가? 반-비르투오소(anti-virtuosity) 담론은 당대 비르투오소에 대한 불안을 어떻게 표출하고 있는가? 연주와 작곡, 기계적 재생산과예술적 창의성 같은 이항대립의 갈등구조에서 비르투오소/비르투오시티의 의미는 무엇인가? 비르투오소의 시각화(visuality)와 육체화(physicality)는 청중의 감각을 자극하면서도 동시에 어떤 사회적, 문화적 의미를 반영하는가? 이 모든 상황에서 리스트는 어떻게 그의 비르투오시티를 차별화 하였는가? 당대 음악일화와 음악비평의 사례를 통해 이 문제에 대해 고찰하는 것이 본고의 목표이다. 이어서 비르투오시티 연구의 방향을 모색하며, 여성 비르투오소와 성(性)정체성 담론, 그리고 리스트의 주요한 저서를 통해 그의 초기를 넘는 지속적인 비르투오시티에 대한 옹호를 제안한다.

Abstract

Virtuosity and the virtuoso in the first half of the nineteenth century have drawn considerable attention from diverse approaches and disciplines, including ontology, aesthetics, sociocultural studies, literature, and criticism. Drawing on performance accounts and criticism of the time, this study reassesses several pressing issues in regard to virtuosity and the virtuoso: what is the aesthetic, philosophical reasoning behind the concept of instrumental virtuosity between about 1815 and 1848; how anti-virtuoso polemics articulated the prevailing anxiety toward virtuosos, particularly their “bodily” performances; how the visuality, physicality, and choreography that virtuosos created on the stage elicited both a tantalizing and a hostile critique and what that meant in a social and cultural context; and, all things considered, how Liszt used his own virtuosity in the midst of such critical reception. Then this paper proposes some directions from which future studies on this subject would benefit, including “gendered” criticism on female virtuosos as well as Liszt’s relentless defense of virtuosity through his Weimar writing beyond his virtuoso years of the 1830s.

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