L.v.Beethoven Violin Sonata No.8, Op.30, No.3과 C.Franck Violin Sonata에 대한 소고

Abstract

본 논문은 석사과정 이수를 위한 졸업 연주 곡목인 L.V. Beetoven Violin Sonata No.8, op.30, No.3과 C. Franck Violin Sonasota를 대상으로 여러문헌을 통화여 작품의 역사적 배경을 살펴 보며, 곡의 내용과 구조적인 면을 분석하는 것을 주요 내용으로 한다. L.v. Beethoven Violin Sonata No. 8, Op. 30, No, 3은 그의 작품시기중 1기와 2기의 과도기에 속하는 작품으로 3악장으로 구성되어 있다. 1악장은 sonata형식이며 제2악장은 중간부에 축소되면서, 불규칙구조를 갖는 3부 형식이고, 제 3악장은 rondo형식이다. Violin과 piano의 비중이 동등하며 각 악장의 대조가 두드러진다. 선율은 motive의 발전적인 형태와 서정적인 것이 함께 나타난다. 대위법적인 구조가 일반화 되고 성부간의 교차가 많이 나타난다. C. Franck Violin Sonata는 후기 낭만시대의 sonata로서 4개 악장에 걸쳐 3개의 순환동기를 사용하여 유기적 통일성을 꾀한 순환형식을 구성원리로 하는 것이 특징이다. 또한 이 작품은 장대한 길이의 sonata로서 서정적 선율의 풍부함, 반음계적 화성, 복잡하고 다양한 리듬, 급변하는조성, 대위법적 기법등 여러가지 기교를 집대성한 작품이라 할 수 있다.;The purpose of this paper is to study the contents of the author's recital program. L.v. Beethoven's Violin Sonata No.8, Op.30, No.3 and C. Franck's Violin Sonata. The study includes a brief description of historical background through various literatures and anlysis of the content and structure of each work Beethoven's Violin Sonata No.8, Op.30, No.3 is composed of 3 movements in the classic period. The first movement is in sonata form, the second movement is in ternary form, and the third movement is in rondo form. The balance between violin and piano is equal and contrasts between movements are definite. Largely based on the technique of motive manipulation that he was to make one of his outstanding characteristics, it also contains a large share of lyric and eloquent melodies. A wider range in the piano part and more brilliant figurations in the violin are external symbols of the new style: but, in addition, contrapunctal textures become more common and moods of sublimity mark the slow movements. Franck's Violin Sonata is composed of 4 movements in the late romantic period. The first movement is in miniature sonata form without development, the second movement is in more complete sonata form, the third movement is in irregular and entirely free in its musical progress, modulatory fantasy, quasi-recitative at start, finale is in free rondo form with themes stated canonically between the two instruments and with a development section at the middle that returns to earlier movements. This work is an agglomeration of various techniques. The characteristics in this work are cyclic forms which constitute organic unity by three cellules through the entire sonata, a variety of rhythms, and chromatic harmonies. In addition, the chromaticism of lyrical flow, the sudden modulation, and the contrafungal treatment are also the characteristics of this work.