L. v. Beethoven Violin Sonata No. 4 in a minor Op. 23에 대한 분석연구

Abstract

본 논문은 석사과정 이수를 위한 졸업 연주 작품 중 루드비히 반 베토벤(Ludwig van Beethoven, 1779-1827)의 바이올린 소나타 제 4번, a단조, Op. 23(1800-1801)을 연구한 것으로 작품 구조의 분석과 음악적 특징을 살펴보고 작곡가의 의도를 파악함으로써 그의 음악을 좀 더 넓게 이해하는 것에 목적을 둔다. 고전음악의 대표적인 작곡가인 베토벤은 소나타 형식을 확립하고 프란츠 요제프 하이든(Franz Joseph Haydn, 1732-1809)과 볼프강 아마데우스 모차르트(Wolfgang Amadeus Mozrt, 1756-1791)에 이어 고전주의 음악 양식을 완성 및 발전시켰으며, 자유로운 기법과 형식을 사용해 낭만주의 음악을 이끌어 음악사 발전에 있어서 중요한 위치에 서 있다. 그의 작품들은 양식적인 특징을 기준으로 제 1기(1782-1802), 제 2기(1803-1816) 그리고 마지막 제 3기(1817-1827)의 세 시기로 나누어지며, 베토벤의 10개의 바이올린 소나타들 중 마지막 제 10번을 제외한 나머지 9곡들은 창작활동 초기인 제1기에 작곡되었다. 작곡된 바이올린 소나타 제 4번은 a 단조의 조성으로, 총 3악장으로 구성된다. 이 작품은 하이든과 모차르트의 고전적인 양식이 뚜렷한 제1기의 마지막 시기에 작곡되었으나 그 형식적인 틀에서 벗어나 베토벤 자신만의 개성이 나타나기 시작한 곡으로, 베토벤 바이올린 소나타의 전환기적 작품이다. 본 논문에서는 베토벤의 초기 작품인 바이올린 소나타 제 4번을 자세히 연구 분석하고 그의 생애와 음악적 성향 및 특징을 파악함으로써 그의 음악을 좀 더 깊이 있게 이해하고자 한다.

;I aimed to examine the life of Ludwig van Beethoven(1770-1827) and the characteristics of his works by time period in this thesis. I also analyzed his Violin Sonata No. 4, a minor, op. 23(1800-1801). Though Beethoven’s Violin Sonata No. 4, a minor, Op.23 is an initial work belonging to the end of his first period, it shows various attempts regarding composition and forms, getting out the traditional and classical techniques by Haydn and Mozart. His fourth Violin Sonata is composed of the three movements including two sonatas and a rondo. Even in the form of fast sonata, the first movement starts with Presto which is usually used for the last movement. The slow second movement is also composed in the form of sonata, which is shown as a new and unique attempt by Beethoven. The last movement is wrapped up with rondo in free form with three episodes. The first movement, sonata form in a minor, is played in 6/8 beats and in presto and composed of exposition, development and recapitulation. The first theme of the exposition is in a minor and the second theme is in e minor in a dominant key. These themes are imitated0 and repeated twice in Violin and Piano. And they changed their registers and articulations according to the instrumental characters. In the development part, only the first theme is developed in three sections in many different ways. The second movement is slow sonata form in 2/4 beats and in Andante scherzoso, più Allegretto. The first theme of exposition is A major and second theme is C major in small fugue. There is no transition between two themes. These two themes are developed in three sections of development and full exposition repeated in recapitulation. Finally, the third movement is a minor with 2/2 beats and in Allegro molto. This rondo is composed of ABACADA’s seven-part rondo, which includes a coda. Refrain is in a minor and three episodes have very different characters. Episode B is in b minor, but the mode is continuously changed by sequence. Second episode, C, is A major-mode and third long episode D is F Major of Choral. Coda repeats with transformed refrain by changing the registers. By examining Beethoven’s Violin Sonata No. 4, a minor, Op. 24(1800-1801), One can find that Beethoven’s musical characteristics and different form other traditional classical violin sonatas. Beethoven empower both violin and piano to show equal, but independent performance as emphasizing the characteristics of each instrument. It also shows his new attempts such as minor keys that were not used a lot at that time. Through this thesis, I could find that Beethoven sonata No.4 is a good example of his sonatas well combined with his own musical style and classical sonata style.