베토벤 당대의 피아노 소나타 비평에 투영된 감상의 고도화
Enhancement of Appreciation Reflected in Beethoven’s Contemporary Criticism on His Piano Sonatas
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본고는 18∼19세기 독일어권 음악 청취의 역사적 변천에 비추어 베토벤 당대 피아노 비평에 투영된 감상의 고도화(高度化)를 살핀다. 18세기 중반에 ‘립하버(Liebhaber 음악애호가)’와 ‘켄너(Kenner 감정가)’가 서로 가까운 개념으로 비전문 음악인을 뜻하였던 것과 달리, 19세기 전반에는 립하버와 켄너의 구별이 훨씬 강화되고, 켄너의 취향에 훨씬 높은 문화적 권위가 부여된다. 베토벤 당대 피아노 소나타 비평은 켄너의 감상이 고도화되면서 켄너와 립하버의 간극이 벌어지던 시기를 생생하게 담고 있다. 1800년경 초기 피아노 소나타 비평에서는 신고전주의의 미적 기준에 비추어 세부적인 음악 요소를 평가하는 분석적인 비평이 주를 이루었지만, 1820년경에 이르면 주관적인 상상을 통해 작품의 정신적인 면을 해석하는 환상적인 비평이 등장하기 시작한다. 음악적 요소들이 만들어내는 효과를 기술하던 전통적인 비평 위에, 상상을 동원하여 베토벤 피아노 소나타가 담은 정신적인 면을 해석하는 비평이 더해진 것이다. 또한, 1820년경의 비평에서는 하나의 작품 전체, 베토벤 작품 생애, 음악사 전체를 거시적으로 조망하여 그 문맥에서 베토벤의 피아노 소나타를 평가하는 경향이 두드러진다. 이와 같은 변화는 1) 음악 작품이 주는 영향을 수동적으로 느끼던 방식에서 음악에 담긴 본질을 능동적으로 해석하고자 하는 방식으로, 2) 한 작품의 음악적인 요소를 작법의 규칙이나 미학적인 기준에 비추어 세부적으로 살피던 미시적인 방식에서 작품 전체의 문맥과 역사적인 맥락을 아우르는 거시적인 방식으로 당대 켄너의 감상이 고도화되고 있었음을 보여주는 것이다. 또한 이것은 당대 베토벤 소나타의 주된 고객이었던 켄너들이 신고전주의의 미학관과 관념론의 미학관을 아우르고 있었고, 그들에게 ‘음악적인 규칙에 대한 후천적인 지식’과 ‘음악에 대한 감성이라는 정신의 능력’ 양면이 요구되고 있었으며, ‘피아노 소나타’라는 장르가 ‘여흥’을 넘어 ‘예술’로 여겨지기 시작했음을 반영하는 것이라 할 수 있다.
Abstract
This paper examines the enhancement of appreciation reflected in the critical reception of Beethoven’s piano sonatas by his contemporaries in the context of historical changes in music listening in German-speaking countries in the 18th and 19th centuries. While both ‘Liehaber (music lover)’ and ‘Kenner (connoisseur)’ meant non-professional musicians having close concept by the mid-18th century, by the first half of the 19th century, the distinction between Liebhaber and Kenner became much stronger, and Kenner’s tastes were given much higher authority. Criticism of Beethoven’s contemporary piano sonatas vividly captures the period when the gap between Kenner and Liebhaber widened as Kenner’s appreciation became more sophisticated. Early piano sonata criticism around 1800 was dominated by analytical criticism that evaluated musical elements according to neoclassical aesthetic standards, but around 1820, rhapsodic criticism began to emerge that interpreted the spiritual aspects of the work through subjective imagination. On top of the traditional criticism that describes the effects generated by musical elements, rhapsodic criticism that involved imagination to interpret the spiritual aspects of Beethoven’s piano sonatas was added. In addition, in criticism around 1820, there was a noticeable tendency to evaluate Beethoven’s piano sonatas in a macroscopic view of the entire work, Beethoven’s career, and musical history. This change was 1) from passive listening that feels effect of music to active listening that interprets the essence of the music; 2) from a micro-analysis that examines the work in detail in light of the rules of composition and aesthetic standards to macro-interpretation on the overall quality of the work. This shows that Kenner’s appreciation at the time was becoming more sophisticated through a macroscopic interpretation that encompasses musical context and historical context. In addition, this means that the Kenners, who were the main customers of Beethoven’s sonatas at the time, encompassed the aesthetic views of Neoclassicism and Idealism, and they had both ‘acquired knowledge of musical rules’ and ‘the mental ability of sensitivity to music’. Moreover, it reflects that the genre of ‘piano sonata’ was beginning to be considered as ‘art’ instead of ‘entertainment’.
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