Claudio Monteverdi의 극음악 "Orfeo"에 對한 小考

Abstract

Claudio Monteverdi(1567-1643)는 후기 르네상스의 음악양식 뿐 아니라 17세기 바로크의 음악양식을 겸비한 작곡가 이다. 그는 전 생애를 통해 수 많은 음악작품을 남겼으며 당시로서는 획기적인 극음악을 시도하였다. Monteverdi는 현존하는 最古의 극음악인 Peri와 Caccini가 作曲한 Eurydice(1600)의 stile rappresentativo 양식을 좀 더 발전시키고 그 위에 자신의 새로운 양식을 도입시켜 현재으 Opera에 가장 가깝다고 할 수 있는 극음악 Orfeo를 작곡하였다. 이 극음악은 그의 중년기인 1607년에 작곡 되었으며 음악적으로나 극적으로 대단히 뛰어난 작품이라 할 수 있다. 필자는 이 논문에서 Monteverdi의 최초의 극음악 Orfeo가 나타내고 있는 다양한 악기 사용법과 화려한 성악기교의 실현, 거대한 합창의 도입 그리고 기악곡들이 전체 작품에서 음악적인 통일성을 이루게 하는 역활등을 살펴 보았다. 또한 음악과 대사와의 밀접한 관계와 성악곡과 기악곡에 대한 음악적 특징을 중점적으로 연구하였다.;Claudio Monteverdi was born at Cremona in 1567 and died in venice in 1643, His long life is easily divided into three main periods: the years of childhood at Cremona (1567-1589), his musical services at the ducal court of Mantua (1590-1612) and finally his appointment as maestro di cappela of ST. Mark's, Venice (1613-1643). Monteverdi is an outstanding composer in the history of music. He combined the late-Renaissance style of the sixteenth century with a new conception of the possibilities of monodic songs. He is entitled to be called the real founder of Opera. In his hand the new form of the Florentine Camerata passed out of the experimental stage. Monteverdi's first Opera, the Orfeo, was composed for the Duke of Mantua in 1607 to a poem by Alessandro Striggio. The Opera was so succesful that it was twice put into print. (in 1609 and 1615) This study on the Orfeo reveals following musical and dramatic characteristics. Firstly, Minteverdi's Orfeo was the first opera in which the list of orchestral instruments at the beginning of the score was given. Monteverdi indicated in the score precisely what instruments were to be used. His choice of instruments was not only to secure variety of color but to help characterize the dramatic situations. Secondly, the monodic style of the Orfeo is more melodic and elaborated than that of the operas by the Florentine Camerata. Monteverdi grasped the dramatic possibilities of the monodic style. Thirdly, Monteverdi achieved a logically articulated, planned musical structure in Orfeo. The feature is a apparent in the use of such devices as strophic songs and variations and instrumental ritornellos and in the broad symmentrical structure of the large unit. Fourthly, in Orfeo Monteverdi realized the full dramatic power of the text. He achieved that through rich harmonic contrast, contrast of tone color in the accompanying instruments, tone painting, and the use of specific intervals. Particularly, the interval of tritone was frequently used to depict or suggest tragic scences. Thus Monteverdi adhered to the supreme law; "L'oratione sia padrone del armonia e non serva". Finally, the unity between drama and music is the great feature of the Orfeo. Orfeo was in every respect a unique work, so far above anything that had been produced in the early days of opera.