J. S. Bach Cello Suite No.1 in G Major, BWV1007에 대한 연구분석

Abstract

본 연구는 독일에서 활동한 오르가니스트이자 작곡가 요한 세바스찬 바흐(Johann Sebastian Bach, 1685-1750)의 Cello Suite 작품 중 No.1에 관하여 분석하고 알아보고자 한다. 첼로 무반주 모음곡은 바흐가 일상 속 경험을 통해 이탈리아, 프랑스 등 유럽의 다른 나라의 음악 양식을 흡수하며 음악적 견해를 넓히는 과정에서 각 나라 무곡의 특성에 기반하여 작곡한 무곡 모음곡이다. 이 모음곡은 총 6개로 이루어져 있으며 각 모음곡은 6악장으로 되어 있다. 6개의 모음곡은 각각의 특성을 지니는데 단조로운 듯하나 웅장함을 느끼게 하는 선율들은 첼로가 지닌 음색의 다양성을 잘 표현하였다. 이 작품은 첼로 연주자들에게 ‘구약성서’라 불릴 정도로 중요한 지침이 되었으며 오늘날 첼로와 더불어 비올라, 바이올린 등 다른 악기를 위해 편곡된 작품이 출판되며 그 위상을 드러내고 있다. 본 논문에서 중점적으로 분석하고자 하는 Cello Suite No.1은 전주곡인 Prelude를 시작으로 Allemande, Courante, Sarabande, Minuet Ⅰ, Ⅱ, Gigue 총 6악장으로 구성되어 있다. 대중들에게 음악을 전달하는 연주자로서 작품의 구조를 이해하는 것은 기본이자 필수적인 조건이기에 J.S.Bach의 Cello Suite No.1의 전 악장을 분석하여 바흐 음악에 대한 연주자와 청중의 이해를 높이는 것을 목적으로 한다.;For the analysis of Johann Sebastian Bach's Cello Suite No. 1 in G Major aims to enhance the understanding of his music for both performers and listeners. Bach, a German organist and composer who later had a significant impact on Western music history, composed the unaccompanied cello suites, which serve as essential guidance for cellists. To deeply understand the music, it is necessary to understand the composer's life and historical background. Therefore, the structure and melodic progression of the Cello Suite No. 1 were analyzed based on research into Bach's life and the historical context of the Baroque era. Bach was born into a devout musical family and naturally chose to express his faith in God through music as his life's purpose. His works, which were created during the Baroque era, a period of change and adventure, emphasize emotional expression and reflect the influence of a time when naturalism was prominent, evoking a sense of human sublimity and unity. He also combined the structures, styles, and forms that represent this era with his unique approach, contributing to musical development while continuing the traditional contrapuntal form. Of the six suites, the first follows the basic structure of Baroque suites: Allemande, Courante, Sarabande, and Gigue, with a Prelude at the beginning and Minuet Ⅰ and Ⅱ inserted between the Sarabande and Gigue. All movements are in binary form and are primarily in G Major. The Prelude sets the atmosphere of the piece. The continuous progression of four sixteenth notes is dominated by harmony, with the melody expressed through broken chord and scalar patterns. These patterns represent the harmonic progression in a melodic way, and although they are composed of a single line, they suggest a polyphonic structure. The Allemande is a 2-beat dance originating from Germany, characterized by the use of sixteenth notes, starting on an upbeat, and the emphasis on downbeats through dots and trills. The Courante is a 3-beat dance from France, meaning "to run fast," and has a lively atmosphere. Its motif rhythm appears throughout the piece in various forms, and the use of sequence is notable. The Sarabande is a 3-beat dance originating from Spain, characterized by deep harmonic progressions and the interplay of harmony and melody. The second beat is emphasized with long notes and trills. The Minuet is an elegant 3-beat dance from France. Minuet Ⅰ features sequences and frequent leaps, while Minuet Ⅱ has a distinct phrase structure and sequences similar to Minuet Ⅰ. The Gigue is a compound 2-beat dance from England with a humorous character, characterized by sequences and ascending progressions. Thus, Bach's unaccompanied cello suites are based on the main forms and characteristics of Baroque suites, combining his own color with the music of various European countries. This work has significant meaning in demonstrating the potential of the cello as a melodic instrument, which in the Baroque era often accompanied other melodic instruments as a continuo instrument.