슈만 <카니발 Op. 9>에 나타난 코메디아 델라르테의 수용양상 분석

Abstract

This study aims to consider and analyze the factors of the commedia dell’arte found in Carnaval, Op. 9 and to review and organize Schumann‘s original method used in the process of integrating the external factors with music. Based on the composer‘s actual experience related to marriage when composing Carnaval, Op. 9, this study analyzed and drew connections with the masque, commedia dell’arte. As a result, the following conclusion was drawn. ‘Pierrot,‘ ‘Harlequin‘ and ‘Pantalone and Columbine,‘ the characters of the commedia dell’arte appearing in this work as a title, are associated with the inner intention to expose the real love story related to Schumann‘s broken engagement other than the primary role of description of the festival. It is thought to result from musically converting and using the main features of the commedia dell’arte under the theme of satire, parody, mask and young couple in the face of opposition to marriage after capturing them. According to their roles in the work, ‘Coquette‘ and ‘Réplique‘ are similar to a lazzi, which is an improvisation at the interval to provoke laughter in the commedia dell’arte, and the critical tendency of the commedia dell’arte is in common with Schumann‘s musical thought - criticizing existing musical society- appearing in the last movement Marche des "Davidsbündler" contre les Philistins. Schumann‘s use of external material of the commedia dell’arte was established based on literature - particularly closely related to Jean Paul‘s descriptive characteristics -. Above all, it is considered the method to imply and expose his own existence in the work effectively. Based on these characteristics, it is considered that Carnaval, Op. 9 is a clear example for Schumann‘s reference "Everything around us becomes themes and materials of works and then is expressed itself while looking for a way out in music." and the realization of the true spirit of Romanticism.