<가니메드>의 재해석 : 슈베르트의 op.19의 재구성
Ganymed Reconsidered: A Reconstruction of Schubert's Op.19
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Since the 1980’s, when Schubert’s sexuality was first debated in the field of musicology, the general understanding of Schubert’s music has changed radically. Under these circumstances, Ganymed has been considered a significant work in associating Schubert’s sexuality with his music because of the mythical narrative. However, this contention overlooks the inclusion of Ganymed as the final song in Schubert’s op. 19, which contained three independently composed settings of Goethe texts published in 1825. Each piece in op. 19 sings the destiny of human beings in poetic terms. The first work, An Schwager Kronos, deals with the victory of man over time restricting human life. In contrast, An Mignon speaks of the deep sorrow which comes from inescapable fate. Finally, Ganymed sublimates earthly desire into transcendental longing. Whatever Schubert’s interest in composing Ganymed originally, its placement at the end of this particular grouping produces a unified poetic and musical narrative of transfiguration, where the juxtaposition of human wishes and despairs ultimately allow a philosophical transcendence of their origins.
Abstract
Since the 1980’s, when Schubert’s sexuality was first debated in the field of musicology, the general understanding of Schubert’s music has changed radically. Under these circumstances, Ganymed has been considered a significant work in associating Schubert’s sexuality with his music because of the mythical narrative. However, this contention overlooks the inclusion of Ganymed as the final song in Schubert’s op. 19, which contained three independently composed settings of Goethe texts published in 1825. Each piece in op. 19 sings the destiny of human beings in poetic terms. The first work, An Schwager Kronos, deals with the victory of man over time restricting human life. In contrast, An Mignon speaks of the deep sorrow which comes from inescapable fate. Finally, Ganymed sublimates earthly desire into transcendental longing. Whatever Schubert’s interest in composing Ganymed originally, its placement at the end of this particular grouping produces a unified poetic and musical narrative of transfiguration, where the juxtaposition of human wishes and despairs ultimately allow a philosophical transcendence of their origins.
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