서홍준 작곡 해금협주곡 <마루> 분석 연구

Abstract

2018 부산 마루 국제 음악제에서 초연된 서홍준 작곡 <마루>는 밤하늘의 별을 모티브로 삼은 해금협주곡이다. 작곡가는 밤하늘에 흩뿌려진 수많은 별의 규칙 혹은 불규칙적인 움직임을 독주해금으로 표현하고자 하였다. 본 논문은 <마루>의 독주해금 중심의 선율, 관현악의 악기 배치를 통한 음향과 작곡가의 작곡 어법을 분석하였으며, 그 결과는 다음과 같다. 첫째, <마루>의 악곡 구조는 빠르기에 따라 단락 A부터 K까지 총 11개의 단락으로 구분할 수 있으며, 이 단락들은 독주해금의 solo cadenza를 중심으로 3개의 악장으로 엮어 ‘다악장의 단일악장화’가 구현되었다. 독주해금선율을 기점으로 악기군의 등장, 전개, 발전이 이루어지고, 오채길굿, 한범수류 해금산조, 연주자의 즉흥연주가 자연스럽게 악곡에 녹아 표현되었다. 또한, 마디마다 박자가 빈번히, 불규칙하게 변화하는데, 이러한 구조는 박자의 패턴을 최소화하여 불규칙적인 분위기와 음을 흩뿌린 것 같은 즉흥적인 표현을 연출한다. 둘째, 해금협주곡 <마루>는 관현악과 독주해금간의 조화를 통해 독주해금이 곡의 중심이 되도록 하였다. 즉, 독주해금선율이 관현악에 의해 방해받는 것을 최소화하였는데, 관현악은 독주해금이 선율을 제시한 후 길게 연주하는 부분이나 독주해금이 쉼표로 잠깐 쉬는 구간에서 독주해금을 보강하는 역할을 주로 하였다. 이를 통해 독주해금의 선율과 주법이 청자에게 명확히 제시되었다. 셋째, 독주해금을 중심으로 표현기법들을 살펴보면 다양한 연주기법들이 이 곡에서 운용되었다. 스타카토, 트레몰로, 농현, 앞꾸밈음, 꺾기, 중음주법, 글리산도 등 다양한 표현요소를 함께 혹은 따로 사용하여 곡을 전개하였는데, 이를 통해 별이 떨어지거나 이동하고 모이는 등 밤하늘의 여러 장면을 입체적이고 다채롭게 표현하였다. 넷째, 국악 관현악에 대한 작곡가의 견해는 음향효과에서 표출되었다. 이 작품은 현악기가 관악기보다 현저히 음량이 작은 국악기의 특성, 각 악기가 가지고 있는 음색 등을 고려하여 곡의 주제를 조화롭고 다양하게 표현하였다. 악기가 주제 선율을 중심으로 합주하는 방식보다는 각 악기군의 강조점이 등장하고 사라지는 것을 반복하여 각 국악기의 음색이 명료하게 구분될 수 있게 하였다. <마루>는 독주해금선율이 중심이 되어 관현악과 함께 조화를 이루는 작품이다. 작곡가는 독주해금의 다양한 주법과 표현을 통해 별이라는 주제를 다채롭게 연출하고자 하였다. 또한, 국악의 특성인 미분음 요소와 음색을 강점으로 활용하여 곡의 주제를 더 효과적으로 표현하였다. 앞으로도 국악기의 특성을 적극적으로 활용하는 작품들이 많이 나타나길 바란다. 또한, 이 논문을 통해 연주자들이 악곡에 대해 충분히 이해하고 효과적인 연주를 할 수 있기를 바란다. | Making the first debuted in 2018 Busan Maru International Music Festival, <Maru>, composed by Seo-HongJun, is a Haegeum concerto inspired by the stars in the night sky. The composer tried to express the scattered stars of either irregular or regular movement with Haegeum solo. This paper analyzes 1) the sound of cadenza of Haegeum solo, 2) the instrument arrangement of the orchestra and the musical vocabulary that the composer used in <Maru>. The result is written below. First, the structure of the piece can be classified by the speed of the movement from A to K in a total of eleven movements. These sections combine into three movements according to cadenza of Haegeum solo implementing multi-movement form into single-movement form. From the Haegeum-solo, the ensemble is constructed with appearance, progression, and development. OhChaeGilgut, Han BeomSu style Haegeum Sanjo and improvised play of the player are fully blended into the piece. Furthermore, every beat of bar-line shifts frequently and irregularly which minimizes the pattern of the beat to express irregular mood and improvised expression of scattered beats. Second, according to the harmony of the orchestra and cadenza of Haegeum solo, the Haegeum concerto <Maru> is focused on cadenza of Haegeum solo. In other words, the orchestra tries not to disturb the cadenza of Haegeum solo. The orchestra plays after cadenza of Haegeum solo presents or after the rest of cadenza of Haegeum solo to support it. Through this progress cadenza of Haegeum solo and the playing style are presented clearly to the listeners. Third, as we examine the expressive techniques of cadenza of Haegeum solo, the different types of playing techniques are operated in this piece. Expressive elements such as staccato, tremolo, Nonghyun, appoggiatura, shifting-tune, double-stop, and glissando are used either together or separated to advance the piece. Furthermore, they are used to express the falling, moving and gathering of the stars in the night sky tridimensionally and colorfully. Finally, the opinion of the composer about the traditional music orchestra is expressed in sound effects. The Korean traditional instruments have a characteristic that the string instruments have lower sound compared to the wind instruments. The tone of every instrument is considered to be expressed harmoniously and diversely in this piece. Rather than playing an instrument focused on the main melody, every highlight of the ensemble repetitively appears and disappears for every traditional instrument that can be shown clearly. <Maru> is a piece focused on cadenza of Haegeum solo which makes harmony with the orchestral music. The composer wished to use various playing styles and expressions of cadenza of Haegeum solo to present the stars colorfully. Also, he used the strong characteristics of Korean traditional music, which include the microtone element and tone to express the topic more effectively. I hope to see more pieces using the characteristics of Korean traditional instruments actively. Besides, I look forward to seeing more players fully understand the piece and effectively play after reading the paper.; Making the first debuted in 2018 Busan Maru International Music Festival, <Maru>, composed by Seo-HongJun, is a Haegeum concerto inspired by the stars in the night sky. The composer tried to express the scattered stars of either irregular or regular movement with Haegeum solo. This paper analyzes 1) the sound of cadenza of Haegeum solo, 2) the instrument arrangement of the orchestra and the musical vocabulary that the composer used in <Maru>. The result is written below. First, the structure of the piece can be classified by the speed of the movement from A to K in a total of eleven movements. These sections combine into three movements according to cadenza of Haegeum solo implementing multi-movement form into single-movement form. From the Haegeum-solo, the ensemble is constructed with appearance, progression, and development. OhChaeGilgut, Han BeomSu style Haegeum Sanjo and improvised play of the player are fully blended into the piece. Furthermore, every beat of bar-line shifts frequently and irregularly which minimizes the pattern of the beat to express irregular mood and improvised expression of scattered beats. Second, according to the harmony of the orchestra and cadenza of Haegeum solo, the Haegeum concerto <Maru> is focused on cadenza of Haegeum solo. In other words, the orchestra tries not to disturb the cadenza of Haegeum solo. The orchestra plays after cadenza of Haegeum solo presents or after the rest of cadenza of Haegeum solo to support it. Through this progress cadenza of Haegeum solo and the playing style are presented clearly to the listeners. Third, as we examine the expressive techniques of cadenza of Haegeum solo, the different types of playing techniques are operated in this piece. Expressive elements such as staccato, tremolo, Nonghyun, appoggiatura, shifting-tune, double-stop, and glissando are used either together or separated to advance the piece. Furthermore, they are used to express the falling, moving and gathering of the stars in the night sky tridimensionally and colorfully. Finally, the opinion of the composer about the traditional music orchestra is expressed in sound effects. The Korean traditional instruments have a characteristic that the string instruments have lower sound compared to the wind instruments. The tone of every instrument is considered to be expressed harmoniously and diversely in this piece. Rather than playing an instrument focused on the main melody, every highlight of the ensemble repetitively appears and disappears for every traditional instrument that can be shown clearly. <Maru> is a piece focused on cadenza of Haegeum solo which makes harmony with the orchestral music. The composer wished to use various playing styles and expressions of cadenza of Haegeum solo to present the stars colorfully. Also, he used the strong characteristics of Korean traditional music, which include the microtone element and tone to express the topic more effectively. I hope to see more pieces using the characteristics of Korean traditional instruments actively. Besides, I look forward to seeing more players fully understand the piece and effectively play after reading the paper.