사라사테의 <Faust Fantaisie on themes by Charles Gounod> 연구

Abstract

본 연구는 19세기의 작곡가이자 바이올리니스트인 사라사테의 바이올린 소품곡 <Faust Fantaisie on themes by Charles Gounod(이하 파우스트 판타지)>의 분석 연구이다. 본 연구는 시대에 따른 판타지 형식 연구를 참고하여 판타지 양식 안에서 <파우스트 판타지>가 가지고 있는 시대적인 특징을 조명하고자 한다. 또한 <파우스트 판타지>의 악보를 그 유래가 되는 샤를 구노의 오페라 《파우스트》와 비교하고, 이를 통하여 사라사테의 작곡 방식을 탐구하고자 한다. 사라사테는 19세기를 대표하는 바이올린 연주자 중 한명으로서 그가 만든 작품들은 화려한 연주와 고도의 기교를 요하는 점이 특징이다. 따라서 이 연구에서는 <파우스트 판타지>의 작법을 살펴보고 어떠한 특징이 있는지 파악하여 실제적으로 이 곡을 연주하고자 하는 연주자들에게 도움을 주고자 한다.;This study analyzes and interprets <Faust Fantaisie on themes by Charles Gounod>, a small violin piece composed by Sarasate, a 19th-century violinist and a composer. The research studies the position of <Faust Fantaisie> in the historical context of Fantasia style, by referring to the previous researches on Fantasia over time. In addition, the research looks at the origin of <Faust Fantaisie> from Charles Gounod's opera 《Faust》, intending to examine Sarasate's style of composition. Sarasate, one of the representative violinists of the century, is known for his pieces characterized as requiring colorful performance and high-level technique. Thus, this research aims at helping the actual performers of <Faust Fantaisie> by looking at its composition method and understanding its characteristics. <Faust Fantaisie> is a colorful piece, possessing speediness and difficulties in playing. The piece emphasizes its directionality by adding Sarasate’s own composition to the original melody from the Opera 《Faust》 by Charles Gounod. Although such arrangement method had already existed before the Romantic Era, the range of the method broadened along with changes in the concept of Fantaisie from its original perception, as only a kind of polyphony. With the era emphasizing more on musical individualities, Fantaisies focused more on musical expression and freedom of playing, and less on formality. Nevertheless, although <Faust Fantaisie> is a 19th-century piece, it developed its theme based on polyphonic elements, while appropriately adopting the original Fantaisie elements as well. Moreover, <Faust Fantaisie> shows the musical characteristics of Sarasate, especially in the parts that bring up the skills of the performer through bold compositions such as octave leaps and unaccompanied performance. This study focus on how Sarasate reflected the transitional characteristics between polyphonic element and its colorful, improvised counterpart during the concept shift of Fantaisies in the Romantic Era. Resultantly, the study aims to help the performers of this piece to gain directions on its performance.