북독일의‘전고전주의’: 프리드리히 2세의 궁정 음악과 칼 필립 엠마누엘 바흐의 클라비어 음악
'Pre-Classicism' in Northern Germany: the Court Music of Frederick II and Keyboard Music of Carl Philipp Emanuel Bach
1
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
This paper examines the music in the court of Frederick II, which was the music center of northern Germany during the Pre-classical period, and then sheds light on 'Berlin style' of Carl Philipp Emanuel Bach through the analyses of his Preußische Sonaten. While serving as a court musician under Frederick II, who was a follower of the Italian music style, Bach stood against the taste of his employer early on and constructed the framework of the Sonata form as well as the new style which brings out expressionism, sensibility, and subjective feelings. This 'Empfindsamer Stil' can be characterized by the fusion of various and contradicted styles, independent and unique themes, bold use of harmony, contrasts in dynamics, dramatic appearance of fermatas, and unexpected pauses and changes in tempo. This paper delivers and interprets the concrete examples of these characteristics in his Preußische Sonaten.
Abstract
This paper examines the music in the court of Frederick II, which was the music center of northern Germany during the Pre-classical period, and then sheds light on 'Berlin style' of Carl Philipp Emanuel Bach through the analyses of his Preußische Sonaten. While serving as a court musician under Frederick II, who was a follower of the Italian music style, Bach stood against the taste of his employer early on and constructed the framework of the Sonata form as well as the new style which brings out expressionism, sensibility, and subjective feelings. This 'Empfindsamer Stil' can be characterized by the fusion of various and contradicted styles, independent and unique themes, bold use of harmony, contrasts in dynamics, dramatic appearance of fermatas, and unexpected pauses and changes in tempo. This paper delivers and interprets the concrete examples of these characteristics in his Preußische Sonaten.
참고문헌 (14)
- Bach, Carl Philipp Emanuel, "Versuch über die wahre Art, das Klavier zu spielen. Kritisch revidierter Neudruck nach der unveränderten, jedoch verbesserten zweiten Auflage des Originals, Berlin 1759 und 1762" (1972), C. F. Kahnt
- Bitter, Carl Heinrich, "Carl Philipp Emanuel und Wilhelm Friedemann Bach und deren Brüder Bd. I" (1868), Verlag von Wilh. Müller
- Burney, Charles, "Tagebuch einer musikalischen Reise. Durch Frankreich und Italien, durch Flandern, die Niederlande und am Rhein bis Wien, durch Böhmen, Sachsen, Brandenburg, Hamburg und Holland 1770-1772" (1980), Heinrichshofen's Verlag
- Geck, Martin, "Die Bach-Söhne" (2003), Rowohlt Taschenbuch Verlag
- Geiringer, Karl, "Die Musikerfamilie Bach. Musiktradition in sieben Generationen" (1977), Verlag C. H. Beck
- Heartz, Daniel, "Music in European Capitals. The Galant Style 1720-1780" (2003), W. W. Norton & Company
- Heinemann, Michael, "Friedrich II., König von Preußen. in : Das Bach-Lexikon", pp.215~216 (2000), Laaber
- Meyers Lexikon Online, "Sei Sonate per Cembalo Wq 48(Preußische Sonaten) von Carl Philipp Emanuel Bach", pp.1~
- Mies, Paul, "Das Instrumentale Rezitativ: Von seiner Geschichte und seinen Formen" (1968), Bouvier
- Rummenhöller, Peter, "Die musikalische Vorklassik. Kulturhistorische und musikgeschichtliche Grundrisse zur Musik im 18. Jahrhundert zwischen Barock und Klassik" (1983), Bärenreiter Verlag
- Schering,Arnold."Carl Philipp Emanuel Bach und das 'redende Prinzip' in der Musik."Peters-Jahrbuch XLV, "Carl Philipp Emanuel Bach und das 'redende Prinzip' in der Musik", Peters-Jahrbuch, XLV, pp.13~29 (1939)
- Schletterer, Hans Michael, "Johann Friedrich Reichardt", pp.629~648 (1888), Duncker & Humblot
- Wagner, Günther, "Friedrich der Große und das musikalische Berlin seiner Zeit. in : Friedrich der Große und Johann Sebastian Bach", pp.7~15 (1986), Verband deutscher Musikerzieher und konzertierender Künstler
- Wyler, Robert, "Form- und Stiluntersuchungen zum ersten Satz der Klaviersonaten Carl Philipp Emanuel Bachs", 박사, pp.1960