오르간 음악에서 바흐와 비도르의 아티큘레이션
The Articulations of Bach and Widor in Organ Music
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아티큘레이션은 음악을 표현하기 위한 가장 중요한 연주 관행 중의 하나이다. 본 연구는 비도르(Charles-Marie Widor) 연구자인 존 니어(John Near)가 2019 년에 출판된 그의 저서에서 비도르의 바흐곡 연주 해석과 관련하여 “요한 세바스찬 바흐(J. S. Bach) 이래로 오르간 연주 방법은 전혀 변하지 않았다.”라는 표현의 정확한 의미는 무엇인가에 대한 해답을 찾아 나간다. 이 해답을 찾기 위해 바흐와 비도르의 아티큘레이션을 비교, 분석하고 비도르가 편집한 바흐 에디션의서문에 나타난 그의 해석을 살펴본다. 그리고 초기 건반 음악 문헌의 운지법과아티큘레이션을 시작으로 바흐와 그 제자들을 거쳐 비도르에 이르기까지 아티큘레이션과 연주 관행을 문헌을 통해 고찰함으로써 바흐와 비도르 시대의 연주 관행은 무엇이었는지, 그리고 바흐 곡에 대한 비도르의 해석이 과거의 독일 건반음악 문헌에 기반한 것인지도 살펴본다. 그리고 바흐가 그의 음악에 사용한 아티큘레이션들의 여러 유형과 특징, 그리고 각 유형의 아티큘레이션이 무엇을 표현하기 위한 것인지를 고찰한다. 비도르가 그의 오르간 심포니에 표기한 마킹(markings)은 낭만 시대의 음악적 특징을 나타내면서 바흐의 아티큘레이션에서발견되는 것보다 더 표현적인 아티큘레이션과 미세한 템포 변화 지시어들을 포함한다는 것이 명확하게 나타난다. 비도르는 바흐의 전통을 이어받은 작곡가로잘 알려져 있지만, 그의 바흐 음악에 대한 해석은 바흐 시대의 아티큘레이션과는다른, 레가토 주법을 사용하는 일명 프랑스 규칙(French Rules)에 기반을 두고있다. 르멍(Jacques Lemmens)으로부터 시작되어 비도르, 길몽(Alexandre Guilmant), 뒤프레(Marcel Dupré)로 대표되는 프랑스 로맨틱 오르간 악파(French Romantic organ school)의 연주자들은 이 프랑스 규칙을 가지고 오르간 음악을 연주하였다. 비도르는 바흐 음악의 테크닉적인 능통함을 가지고 있었고 그 음악의 가치를 인식하고 있었으나 연주 방법으로서 그의 해석은 시대의 흐름이 반영되어 있었다. 결국 연주자가 음악을 어떻게 표현하기를 원하는가에 따라 음악의 아티큘레이션은 결정되는 것이다.
Abstract
Articulation is one of the most important performance practices for giving expression to music. This study examines the precise meaning of Widor researcher John Near’s remark in his book published in 2019, “The art of organ playing has not changed at all since Johann Sebastian Bach,” in connection with Charles-Marie Widor’s performances of Bach’s organ works. To find an answer, the study compares and analyzes the articulations of Bach and Widor, and observes Widor’s interpretation of Bach’s organ works through the preface to his Bach edition. Through a historical study of keyboard literature, starting with the fingerings and articulations found in early keyboard music through Bach and his pupils and up to Widor, this study also observes the performance practices in the times of Bach and Widor and discusses whether Widor’s interpretations of Bach’s organ music are based on the German performance literature of the past. It also discusses the various types of articulations that Bach employed in his music, their characteristics, and what each type of articulation is intended to express. It becomes clear that the markings Widor indicated in his Organ Symphony include more expressive articulations and tempo indications than are found in Bach’s own articulation, displaying characteristics of the music of the Romantic era. Although Widor is well known as a composer who inherited Bach’s tradition, his interpretation of Bach’s organ works is based on the so-called French rules, using absolute legato technique that is different from the articulation of the Bach’s time. The players of the French Romantic organ school, starting with Jacques Lemmens and represented by Widor, Alexandre Guilmant, and Marcel Dupré, performed organ music using these French rules. Widor had technical mastery of Bach’s organ music and recognized its value, but his interpretation reflected the trends of his time. Ultimately, articulation in any music is determined by what kind of musical expression the performer wants to create.
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