라모와 헨델의 승전축하작품 비교
Comparison of Victory-Commemorative Works of Rameau and Handel
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동시대 작곡가였던 라모와 헨델은 서로 만난 적이 없지만, 비슷한 시기에 벌어진 프랑스와영국 간의 두 전투를 기념하는 승전축하작품을 썼다는 공통점이 있다. 라모는 1745년 있었던 프랑스군의 퐁트누아 전투 승리를 경축하기 위해 《영광의 전당》을, 헨델은 1746년의 컬로든 전투에서 제임스당 반란을 진압한 영국군 지휘관 컴벌랜드 공작을 드높이기 위해 《유다스 마카베우스》를 각각 작곡하였다. 이 연구는 이와 같은 공통점을 바탕으로 이 작품들을주제, 대본, 음악의 세 제작 단계로 나누어 고찰하였다. 볼테르가 쓴 《영광의 전당》 대본개정판의 3막은 각각 벨뤼스, 박퀴스, 트라얀이 주인공이다. 이들 중 벨뤼스와 박퀴스는 변증법의 정(正)과 반(反)에 해당되며, 루이 15세를 상징하는 트라얀은 이상적인 합(合)으로 설정되었다. 프랑스 오페라에 필수적인 디베르티스망은 대다수의 장들에 등장한다. 모렐의《유다스 마카베우스》 대본 역시 3부로 구성되어 있으나, 극적이라기보다는 정적(靜的)이다. 《영광의 전당》의 요지가 루이 15세가 통치하던 프랑스가 트라얀 치하의 로마제국처럼위대하다는 것인 반면 《유다스 마카베우스》의 요지는 하노버 왕가 중심으로 단합하는 것이 신의 가호를 받는 길이라는 것이다.
Abstract
Although Rameau and Handel were contemporaries, there was no direct contact between them. Two battles between France and England, however, provided the equivalent motivations for composing victory-commemorative works. Rameau composed Le Temple de la Gloire to celebrate the French victory at the battle of Fontenoy in 1745, while Handel composed Judas Maccabaeus for extolling the leader of English suppression of Jacobite rebellion at the battle of Culloden in 1746. Based on such commonality, this study focused on the three phases of their productions: the main theme, the libretto, and the music. Voltaire's revised libretto of Le Temple de la Gloire consists of a prologue and three acts. Each act has its own protagonist, Belus, Bacchus, and Trajan. Belus and Bacchus respectively represent thesis and antithesis while Trajan symbolizes the synthesis of the dialectic process. Divertissements appear in most of the scenes. Morell's libretto for Judas Maccabaeus is also in three parts, but generally rather static than dramatic. The gist of Le Temple de la Gloire is that France under Louis XV is as great as the Roman Empire under Trajan while that of Judas Maccabaeus is to be united under the ruling Hanoverian monarchy is the way to be protected by divine providence.
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