하이든의 질풍노도 시기의 건반 소나타에 나타난 독창성
Innovations of Haydn’s Keyboard Sonatas during Sturm und Drang Period
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
이 논문은 하이든(Joseph Haydn, 1732-1809)의 질풍노도(Sturm und Drang) 시기의 건반 소나타에 관한 연구이다. 1765년경에 하이든은 그의 작곡 양식을 가벼운 ‘갈란트’ (galant) 양식에서, 대담하고 실험적이며 강렬한감정을 표현하는 ‘질풍노도’ 양식으로 변화시켰. ‘질풍노도’ 양식이란 독일의문학운동에서 시작된 것으로 비제바(Théodore de Wyzéwa, 1863-1917)는이를 처음 거론한 학자이다. 하이든의 질풍노도 양식으로의 변화가 문학운동에서 영향을 받았는지 혹은 그의 순수한 예술적 변화 욕구에서 비롯되었는지는 정확하지 않으나, 그의 건반소나타에서 양식의 변화는 그 이전의 양식과는확연한 차이를 보이며 후기의 성숙된 양식으로 자리 잡았다. 하이든의 질풍노도 양식은 약 1768년경 그의 오페라와 교향곡, 현악 4중주,건반 소나타와 같은 기악음악에도 나타나기 시작했는데, 페더(Georg Feder)의 분류에 의하면 건반 소나타에서 이러한 양식의 변화가 나타난 것은 1765년이라 추정되며, ≪1765-1772년 소나타≫로 묶어 출판된 7곡과 1771년에 작곡된 L.33(Hob.XVI/20, c단조)이 그 특징을 드러내는 대표작이다. 이 논문에서는 위의 8곡에 드러난 혁신적 특징을 조사하고, 세부적으로는 질풍노도양식에서 가장 중요한 특징이라 할 수 있는 단조로 작곡된 소나타들L.19(Hob.XVI/47bis, e단조), L.32(Hob.XVI/44, g단조), L.33(Hob.XVI/20, c단조)을 분석할 것이다. 그리하여 일반적으로 질풍노도 시기의 시작으로간주되는 1768년 보다 이른 시기의 건반 소나타에서 그 특징이 더 빨리 시작되었다는 것을 보이고자 하며, 질풍노도 소나타가 구체적으로 어떠한 표현력을 지니고 있는지 하이든의 독창적인 작곡 기법 연구를 통해 살펴보고자 한다.
Abstract
Joseph Haydn rapidly changed his musical style from a light Galant style in his early period to a bold, experimental, and intense one from about 1768. Théodore de Wyzéwa, who first paid attention to the change in Haydn’s style, named it “Sturm und Drang” after the German literary movement in the 18th century. Though it is not clear whether Haydn’s Sturm und Drang style stemmed from the literary movement or from his own inner artistic motivation, this stylistic change had great differences from Haydn’s earlier style, and it also served as a base for Haydn’s mature classical style. Haydn’s works in Sturm und Drang style began to pour out from about 1768 in his instrumental music such as his symphonies, string quartets, and keyboard sonatas. According to Haydn’s complete work list by Georg Feder, composition of his Sturm und Drang style keyboard sonatas date from 1765, 3 years earlier than those of other instrumental genres. Therefore, the keyboard sonata could be the first instrumental genre in Haydn’s Sturm und Drang style. Seven Sonatas in 1765-1772 set and L.33(Hob. XVI /20, c minor) sonata which was composed in 1771 represent the characteristics of this style. In general, characteristics of Haydn’s Sturm und Drang musical style are the use of minor key, unexpected and remote key modulations, abrupt change of tempo and dynamics, and contrapuntal texture. These characteristics were conceived to express the intense and dramatic emotions 90of the composer. This thesis first researches new key relationships between sonata movements in the above eight sonatas, and then analyzes three minor sonatas which are L.19(Hob. XVI/47bis, e minor), L.32(Hob. XVI/44, g minor), and L.33(Hob. XVI/20, c minor). The inclusion of minor key sonatas is due to the fact that the use of minor key is the first characteristic that signified a change in style. Thoroughly analyzing the sonatas in detail, this thesis claims that Haydn’s Sturm und Drang style is unique and innovative, and that its great expressiveness was different from those of contemporaries such as C. W. Gluck and C. P. E. Bach, who alsofocused on expressing emotions of a composer. Although Haydn’s Sturm und Drang style was short-lived and not continued, it surely contributed to the establishment of his mature classic sonatas. Furthermore, it is believed that these unique compositional elements affected later composers such as Mozart and Beethoven, and even those of the Romantic period.
참고문헌 (31)
- 길레스피, 존, "피아노 음악" (2007), 계명대학출판부
- 김선자, "C. P. E. Bach 의 Probestücke Sonata (Wq.63)에 관한 연구", 음악연구, 23(1), pp.41~69 (2001)
- 신혜승, "오페라 작곡가로서의 하이든 재조명", 音.樂.學, (17), pp.177~210 (2009), 한국음악학학회
- 컬비, F. E., "피아노 음악사: 20세기 말까지" (2007), 도서출판다리
- Adler, Guido, "Haydn and the Viennese Classical School", The Musical Quarterly, 18(2), pp.191~207 (1932)
- Bach, Carl Philipp Emanuel, "Essay on the True Art of Playing Keyboard Instrument" (1948), Norton
- Brook, Barry S., "Sturm und Drang and the Romantic Period in Music", Studies in Romanticism, 9, pp.269~284 (1970)
- Brown, A. Peter, "Joseph Haydn and C. P. E. Bach: The Question of Influence", Haydn Studies: Proceedings of the International Haydn Conference Washington D. C., pp.158~164 (1981), Norton
- Daverio, John, "Schumann, Robert, In The New Grove Dictionary of Music and Musicians, Vol. 22", pp.760~792 (2001), Macmillan
- Dies, Albert Christoph, "Joseph Haydn: Eighteenth Century Gentleman and Genius" (1963), University of Wisconsin Press
- Feder, Georg, "Haydn, Joseph, Work list, In The New Grove Dictionary of Music and Musicians, Vol. 11", pp.204~263 (2001), Macmillan
- Geiringer, Karl, "Haydn: A creative life in music" (1982), University of California Press
- Griesinger, Georg August, "Biographische Notizen über Joseph Haydn. Leipzig: Breitkopf und Härtel, 1810, In Joseph Haydn: Eighteenth Century Gentleman and Genius" (1963), University of Wisconsin Press
- Heartz, Daniel, "Haydn, Mozart and the Viennese School 1740-1780" (1995), Norton
- Kolk, Joel, "Sturm und Drang and Haydn’s Opera", Haydn Studies: Proceedings of the International haydn Conference Washington. D. C., pp.440~445 (1981), Norton
- Kollektiv für Literaturgeschichte, "Sturm und Drang, In Erläuterungen zur deutschen Literature" (1988), Volk und Wissen
- Landon, Howard Chandler Robbins, "The Symphony of Joseph Haydn" (1961), Universal Edition and Rockliff
- Landon, Howard Chandler Robbins, "Haydn: Chronicle and Works Vol. 2, Haydn at Esterháza 1766-1790" (1978), Indiana University Press
- Larsen, Jens Peter, "Haydn and the Classical Symphony", pp.8~11 (1975), The John F. Kennedy Center for the Performing Arts
- Larsen, Jens Peter, "Some Observations on the Development and Characteristics of Viennese Classical Instrumental Music, In Handel, Haydn and the Viennese Classical Style, Studies in Musicology Vol. 100", pp.227~249 (1988), UMI Research Press
- Pusey, Marcel W., "Haydn’s Instrumental Music and the Fallacy of Sturm und Drang: Issues of Style in the Symphonies, String Quartets, and Keyboard Sonatas c.1766-72", 박사, pp.2005
- Rosen, Charles, "The Classical Style" (1997), Norton
- Somfai, László, "The Keyboard sonatas of Joseph Haydn" (1995), University of Chicago Press
- Todd, R. Larry, "Joseph Haydn and the Sturm und Drang: A Revaluation", The Music Review, 41, pp.172~196 (1980)
- Webster, James, "Haydn’s “Farewell” Symphony and the Idea of Classical Style" (1991), Cambridge University Press
- Webster, James, "Haydn, Joseph, In The New Grove Dictionary of Music and Musicians, Vol. 11", pp.171~204 (2001), Macmillan
- Wyzéwa, Théodore de, "A Propos du centennaire de la mort de Joseph Haydn", Revue des deux mondes, 51, pp.935~946 (1909)
- Haydn, Joseph, "Haydn Sämtliche Klaviersonaten Band I, II" (1970), G. Henle Verlag
- Haydn, Joseph, "La Canterina" (1961), G. Henle Verlag
- Gluck, Christoph Willibald, "Don Juan, In Denkmäler der Tonkunst in Österreich, In XXX. Jahrgang, 2 Teil" (1923), Universal
- Gluck, Christoph Willibald, "Orfeo ed Euridice, arr. Heinz Moehn. Kassel:", ~