Program Annotation

Abstract

본 논문은 본인의 졸업연주 프로그램인 W. A. Mozart의 「Piano Sonata Kv.281 in B♭ Major」, L. v. Beethoven의 「Piano Sonata No.7 op.10-3 in D Major」, J. Brahms의 「6 Piano Pieces op.118」, S. Prokofiev의 「Piano Sonata op.28 No.3 in a minor」에 대한 연구이다. 1774년에 작곡 된 모차르트의 「Piano Sonata Kv.281 in B♭ Major」는 Salzburg(짤츠부르크)에 있던 시절의 초기 피아노 소나타곡이다. 총 3악장으로 이루어져 있으며 갈랑트 스타일(Gallant Style)의 영향으로 장식음의 사용과 우아함이 돋보이는 곡이다. 베토벤의 「Piano Sonata No.7 op.10-3 in D Major」는 1798년 출판된 대표적인 초기 소나타작품이며 전통적인 4악장 구성으로 작곡되었다. 이 곡은 그 당시의 고전작품과 다르게 대담한 화성, 전조사용, 섬세한 다이나믹 등을 보여준다. 브람스의 「6 Piano Pieces op.118」은 1892년에 작곡된 피아노 곡이며 Op.116, 117, 119와 더불어 자주 연주되는 브람스의 말년 소품곡으로 그의 음악을 집대성하여 보여 줄 수 있는 곡이다. 4곡의 Intermezzo와 1곡의 Ballade 1곡의 Romanze를 포함한 총 6개의 곡으로 이루어져 있다. 프로코피에프의 「Piano Sonata op.28 No.3 in a minor」는 1907년 곡을 1917년에 개작한 초기작품으로 여러 가지 불협화음과 복잡한 리듬 등 동적인 진행과 서정적인 선율을 보여주며 고전적이면서도 현대적인 특징들을 모두 가지고 있는 곡이다. 1번과 함께 단 악장으로 구성된 피아노 소나타이며 연주자들에게 효과 있는 프로그램으로 여겨진다.;This paper is about my graduation performance program 「Piano Sonata Kv.281 in B ♭ Major」 of W. A. Mozart; 「Piano Sonata op.10-3 No.7 in D Major」 of L. v. Beethoven;「6 Piano of J. Brahms Pieces op.118」 of J. Brahms; and 「Piano Sonata op.28 No.3 in a minor」 of S. Prokofiev. W. A. Mozart had expanded the development and code in his piano sonata through 'theme motif technique influenced by Haydn. In Kv.281 Sonata, the melody is lyrical with the properties of Gallant Style. He used Alberti-bass widely used in the Rococo era using a musical form in which 16-beat melodies and semiquaver continue incessantly and melodies are attached with accompaniment. In addition, he used rhythm development which is sub-divided and added with decoration (e.g. chromatic technique, constant, yet simple rhythmic modes and clear conclusion of respective melodies, tuplets and arpeggios, etc.), syncopation and frequent trills. L. v. Beethoven’s 32 piano sonatas, which may be called the perfection of sonata form structure, integrated classic techniques, guiding the romantic school The forms revealed in 32 piano sonatas show diversity, mainly in sonata form (i.e. minuet, scherzo, ternary form, Rondo, Rondo Sonata, variations and fuga, etc.). L. v. Beethoven’s 「Piano Sonata No.7 Op.10-3 in D Major」 is the most mature work of his early sonatas in terms of form and content. Even though it did not accomplish the expression of the romanticism in his later works, it adhered to tradition, yet showed his attempts for a novel innovation. J. Brahms is neo-classicist. He adopted a classical form in terms of the structure of work, yet showed romantic tendency in expressive technique. For example, Intermezzo, Ballade and Romanze, which used to mean a passing arietta inserted between the movements in the musical pieces with multiple movements, were used here as one independent instrumental piece. He adhered to the characteristics of absolute music in the mightly stream of programme music which was one of the characteristics of the romantic era. He showed in this work his excellent rhythmic technique using a variety of rhythms (e.g. complex rhythm, 2:3 cross-rhythms and hemiola, etc.). In addition, he preferred to use modulation as chromatic triad relative keys, not the relative keys used in traditional harmony and enharmonic chord. He expressed coloristic variation of various tones using these types of harmonies. S. Prokofiev researched into his own technique under the oppression of so-called social realism and reflected them in his music, leaving a large amount of piano works behind. Moreover, he treated piano as a percussion instrument, adding dynamic expressions to piano, establishing the foundation to discover and establish new sonic range of piano.