연주자 입장에서 본 베토벤 피아노 소나타 작품 109 음조직에 관한 연구

Abstract

This paper deals with the regenerational processes in Beethoven Piano Sonata Op.109. This study is done from a point of view of a pianist. The first movement is in Sonata Form, the first theme is marked Vivace, ma non troppo, 2/4 and the second theme is marked Adagio espressivo, 3/4. These two themes look and sound very different, but basically they share the same motivic structure. The basic motive, I think is G#→B motive with which the first movement begins. The second movement marked Prestissimo, 6/8 is also in Sonata Form and shows similarities with the first movement as far as the motivic structures are concerned. The third movement is in variation form. It consists of the main theme and six very distinct variations and at the end of the sixth variation the main theme of the third movement returns in its entirely this time without repeats. The main theme of the third movement also basically is derived from the main motive, G#→B. Throughout the whole sonata, the main motive(G#→B) transforms itself sometimes symmetrically among voices, sometimes emphasizing extreme contrasts, sometimes develops into various tonal dramas, but always comes back with Beethovenian, if I may say, heavenly balances.