슈만의 피아노 싸이클《환상소품집》에서 나타나는 조성적 연관성
A Study of Key Relations shown in Schumann’s Piano Cycle Phantasiest？cke : Confrontation VS Coherence
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Abstract
Robert Schumann borrowed the title of Phantasiestücke, Op. 12 from Phantasiestücke in Callot’s Manier, the first collection of works by Ernst Theoder Amadeus Hoffmann. Callot’s manner presents fantastic configuration from Jaques Callot who was active as a sculptor and painter in the 17th Century. His painting is harmonious as well as antithetic and dualistic showing both human and animal. Hoffmann’s dualism in his literature, such as fantasy and reality, inner and outer world, consciousness and unconsciousness, and art and life, is also related with Callot’s paintings, thus they are not always conflict, but coexist in one world. The goal of this paper is to explore some relations of Schumann’s Phantasiestücke and Hoffmann’s dualistic nature so that the piece is not simply classified as a collection, but cycle. When we study key relations in the whole piece, it is not easy to analyze this piece as a Piano Cycle: Db major and F minor are alternately presented in No. 1 to No. 5; C major in No. 6 “Fabel” serves as the dominant key of the following F major in No. 7 and 8. Nevertheless, this paper examines key relations of Db major, F minor, and F major in terms of confrontation, coexistence, and coherence, based on the Hoffmann’s philosophical view on the fantasy and reality.
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