Edvard Grieg 의 Cello Sonata in A minor Op.36 에 관한 분석 및 연구

Abstract

The study is based on Edvard Grieg’s Cello Sonata in a minor, Op.36 so far are as follows. Norway in the 19th century when E. Grieg was born and grew was forced into union with Sweden. Norwegians were infuriated and fought for their independence. They were in the environment where their nationalistic consciousness began to emerge. E. Grieg acquired Romantic music style when he studied in Germany and returned home and made nationalistic music pieces utilizing Norway’s folk songs and dance musics. E. Grieg’s Cello Sonata, studied this time, is a work that combined Norway’s folklore melodies well with romantic musics and also a drastic work that contains music urgency and vitality. The first movement is in sonata form of 2/2. In original key, tonic chord ends in bridge passage following theme one and then is modulated to relative key (C Major) in theme two and then passes through the bridge passage and leads to the development section. Then, it is segregated into four parts in the development section and ascends at intervals of flat third and goes towards peak, going through the final diminished seventh, and then sets from recapitulation to the bridge passage as theme one and presents parallel keys (A Major) in theme 2 and increases the tempo in long coda and ends with a minor. The second movement is in ternary form of 4/4. It presents lyrical, choric motif in A part and presents piano only in the first 8 bars and then presents cello melodies in the next 8 bars, which constitutes a double period structure, which means that piano presents chord. Then in B part, it is segregated into 3 parts and presents a mix of melodies in B part and those in A part through various transpositions and then in A’ part, presents the above A part melodies with tremolo. The third movement is in sonata form of 2/2. It is identical to the first movement for form’s sake, but accompanied with cello’s solo intro(entree) and theme one in exposition presents the melodies containing folk rhythms. It is a codetta-free long part in theme two and the development section reaches E minor descending as much as a whole tone and the fourth part in the development section returns to the original key presenting intro melodies. In Coda, it ends with A Major, which means that it finishes strongly with splendid figures. It is hoped that this study can be helpful for playing E. Grieg’s Cello Sonata in a minor, Op.36. ;본 논문은 에드바르드 그리그(Edvard Grieg, 1843~1907)가 유일하게 남긴 첼로 소나타 <Cello Sonata in a minor, op..36>에 대한 분석 및 연구이다. 19세기 노르웨이를 대표하는 작곡가 그리그가 살아있던 당시의 노르웨이는 스웨덴의 지배를 받고 있었는데, 동시에 노르웨이의 민족주의적인 성향이 많이 대두되었던 시기였다. 그리그는 초기에 라이프치히 유학 시절에 공부한 독일 중심의 낭만주의적인 경향을 보였지만. 이후 민족주의 색채가 짙은 작곡가들과 교류하며 민족주의 음악에 심취하게 되어 두 가지 성향을 그의 작품에 조화롭게 녹아내었다. 그리그의 첼로 소나타(op.36)는 1882년 작곡을 시작하여 1883년 완성하였으며, 가업을 이어가기 위해 첼로를 그만 둔 첼로 애호가인 형에게 헌정한 작품이다. 총 3개 악장으로 되어 있는데, 제 1악장은 소나타 형식, 제 2악장은 두 개의 주제가 대등한 성격을 가진 자유로운 3부 형식으로, 제 3악장은 서주가 포함된 소나타 형식으로 이루어져 있다. 본 논문에서는 그리그가 표현한 노르웨이의 민족주의 작품과 음악적 특징에 대해 이해하며 첼로 소나타를 연구, 분석해 보고자한다. 이를 통해 곡을 연주할 때 올바른 해석을 하여 표현할 수 있도록 도움을 주고자 한다.