슈만 《유머레스크》(Humoreske, Op. 20, 1838-1839)의 들리지 않는 노래
Soundless Song of Schumann’s Humoreske Op. 20
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변위 불협화를 통한 성부 간 박절적 불일치는 로베르트 슈만(Robert Alexander Schumann, 1810-1856)의 독특한 작곡기법의 하나로, 《유머레스크》(Humoreske, Op. 20)의 ‘내적 성부’ 섹션은 상이한 선율 간 그리고 ‘부정확한 유니즌’ 또는 ‘헤테로포니’라 불리는 동일한 선율 간의 박절적 불일치라는 특징을 지닌다. 이는 《유머레스크》의 작곡 직후인 1840년에 탄생할 많은 가곡에서 선보이게 될 위 두 가지 특징의 전조를 보여주는 듯하다. ‘내적 성부’의 의미, 그리고 피아노곡에서 가곡으로의 작곡기법적 연속성을 살펴보기 위해 본고에서는 슈만 《유머레스크》의 ‘내적 성부’ 섹션과 1840년 여러 가곡에 나타나는 공통점을 고찰한다. 이로써 《유머레스크》의 주선율로서 ‘들리지 않는 노래’가 이듬해 작곡된 가곡들을 통해 ‘들리는 노래’로 외면화되었음을 논의한다.
Abstract
The metrical dissonance between voices by displacement dissonance is one of Robert Schumann’s characteristic compositional techniques. The ‘Innere Stimme’ section of his Humoreske Op. 20 contains displacement dissonances between both different melodies and the same melodies, the latter of which is also called ‘Ungenaues Unisono’ or ‘Heterophony.’ This seems to be a precursor to the above two characteristics that will be presented in many of Schumann’s Lieder composed in 1840, shortly after the composition of Humoreske. In order to examine the meaning of ‘innere Stimme’ and the continuity of compositional technique from the piano piece to Lieder, this article compares the ‘innere Stimme’ section of Humoreske and various Lieder of 1840. It is also discussed that the ‘soundless song’ as the principal melody of ‘innere Stimme’ section is externalized as ‘audible songs’ in the Lieder composed the following year.
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