말러의 바흐 관현악조곡 재구성에서 나타나는 괴테의 미학과 형식의 양극성

Abstract

Mahler's Rewriting of Bach's Orchestral Suite - Goethe's Aesthetics and the Polarity of FormsSongtaik KwonMahlers compositional indebtedness to Bach, particularly in his middle period is generally acknowledged but difficult to document. His 1909 arrangement of two Bach's orchestral Suites is one of the most direct and fundamental source showing the close link of Mahler and Bach. The Suites also raise the question of aesthetic basis of this arrangement the fusing of two of Bach's Suites into a single work beginning in B minor and ending in D major- grew out of his deep-seated beliefs in nineteenth-century German aesthetics. Particularly Goethe's philosophy, the principle of structural polarity in artistic forms, stimulated Mahler and became the most essential element in his musical language. I contend that Mahler's interest in Bach's counterpoint in the middle of his career produced new tonal forms built around musical dualities related to contrapuntal techniques specifically, the alteration of homophonic versus contrapuntal textures. In this sense, the amalgam of two different worlds like in his 8th Symphony(Latin hymn and Faust) or in his arrangement of Bach's Suites could be not at all new for Mahler to create for beyond our own time and beyond ourselves, to become better.