Carl Reinecke Sonata Op. 167 "Undine”에 대한 분석연구

Abstract

C. Reinecke(1824-1910)는 피아니스트, 작곡가, 교수, 지휘자 등 다양한 능력을 발휘한 후기 낭만주의 시대부터 신고전주의시대에 활동한 음악가이다. Carl Reinecke Sonata Op. 167 "Undine"는 4개 악장으로 구성되어 있으며 제1악장은 소나타 형식, 제2악장은 론도 형식, 제3,4악장은 복합 3부형식을 이용하였다. 곡의 주요 조성인 e단조를 중심으로 딸림음조, 버금 딸림음조, 3도관계조, 나란한조를 사용하여 다양한 조성을 나타냈으며 각 악장에서 제시되는 주제와 동기들은 리듬과 음정구조에 있어서 밀접한 관계를 가지고 있다. 이러한 다양한 요소들은 동형진행, 모방, 음정 및 리듬변형 등의 방법으로 발전되었다. 화성적 특징으로는 긴 지속음을 배경으로 한 반진행, 병진행, 잦은 전조, 그리고 이명동음을 통한 전조와 원조로의 회귀 등이 있다. 본 논문은 C.Reinecke Sonata Op. 167에 대하여 연구 분석하였다.|C. Reinecke(1824-1910), working for Neoclassicism which had started during the era of Romanticism, demonstrated his various abilities as a pianist, a composer, a professor, a conductor and so on. And he was also outstanding in another fields such as poetry, painting, and administration. Sonata "Undine" Op. 167 by Carl Reinecke has the general atmosphere of lyrical flowing in accordance with the meaning of "Undine", "the Fairy of Water". This composition consists of four movements, one of which is in sonata form, the second Rondo form. and the third and fourth in tripartite form. The main key of each movement is in e minor, d minor, G major and e minor, respectively, all being related keys. Especially the second, third and fourth movements show the variation of speech in progress, and mainly composed of semitonic and dispersive harmonic progressions. The harmonical characteristics are the chromatic progression with long-lasting notes, frequent modulation, fast movement from key to key inharmonic notes, and retrograde to the original key. These were used in extending a concept of key composition and presenting abundant and peculiar sound of Romantic music with techniques of composition and conversation. The ideal performance is first, technical experience of making sound, second, ability of reading and understanding music, third, power to connect these to mental activity as a living music, for the last, break away from everything and devote oneself to the world of music. If you look at the typical performance, it stops at first and second level, and jump to the fourth level without third level which is most important level. Analyzing the music is the third level. Most important thing is to connect the music to mental effect not only limited to techniques of performance. We can step forward to more ideal performance by analyzing this music.