외르크 비트만(Jörg Widmann)의 《열병 판타지》(Fieberphantasie)에 나타나는 음악적 인용과 그 의미

Abstract

This thesis studies German composer Jörg Widmann (1973- ) and how musical quotation is applied in his works, focusing on the pieces, Fieberphantasie (1999). Quotation is a concept widely used in various areas of the humanities (literature, music, arts, etc.) and is particularly significant in music, where it has been broadly and diversely used by many composers in the western music history. In the twentieth and twenty-first centuries, the emphasis on quotation has become particularly significant and is a stylistically defining trait for many composers, just as it is in Widmann’s music. Widmann frequently employs quotation via both traditional and avant-garde harmonic languages; his musical language is a combination of tonal music and atonal music, using various techniques, such as series music, program music, etc. He references works by various composers of the past, such as Franz Schubert, Wolfgang Amadeus Mozart, and Ludwig van Beethoven but has significant emphasis on the music of Robert Schumann. Fieberphantasie for clarinet, string quartet and piano quotes a melody from the first movement of Schumann’s Violin Sonata No. 1. In melody and pitch structure, Fieberphantasie builds on the basic form of the cited melody, which is composed of four pitches, C-F-E-D#. This analysis includes the fourteen quotation categories which musicologist J. Peter Burkholder applied to Charles Ives’ music as a frame of reference to Widmann’s use of quotation. Widmann utilizes these methods in many ways throughout his works, such as modeling, variation, paraphrasing, cantus firmus and cumulative setting. Each of these techniques are used both independently or in combination from a range for which the quotation can be understood. Quotation is one of the primary elements in Jörg Widmann’s style. This musical language is demonstrated through the analysis of his Fieberphantasie include their relationship to other composers that have used quotation significantly as well. Widmann’s quotation pieces include both alluding homage and respect for past composers, as a conversation of past and present, making him a composer who connects time and music, along with various other aspects of his musical language.