18세기 기악음악에서의 신화수용

Abstract

르네상스 시대 이후 오페라를 비롯한 성악음악의 소재로 많이 사용되었던 그리스 로마신화는 18세기 기악음악의 발달과 더불어 차츰 기악음악의 소재로도 사용되기 시작하였다. 그 중에서 가장 주목할 만한 작품은 18세기 후반 비엔나에서 활동했던 작곡가 디터스도르프가 오비디우스의 <변신이야기>를 토대로 작곡한 12개의 교향곡이다. 디터스도르프는 이를 “성격교향곡”으로 작곡하였는데, 성격교향곡이란 18세기 후반에 작곡된 교향곡 중에서 전원, 전투, 사냥 등과 같은 음악외적 요소와 관련된 주제를 담고 있는 작품을 말한다. 신화 속 인물들의 갈등과 사건의 전개를 기악음악으로 표현하는데 있어 발생하는 여러 제약들을 디터스도르프는 다양한 방식으로 극복하였다. 먼저 그는 ⟪변신교향곡⟫에 소나타 형식의 악장과 미뉴에트 악장을 포함시킴으로써 4악장으로 이루어진 당대 교향곡의 표준을 따르면서도, 이야기의 내용에 따라 이를 변형시켜 활용함으로써 형식의 제약을 오히려 캐릭터를 표현하는 방식으로 활용하였다. 또한, 18세기 음악에서 주로 사용되었던 다양한 토픽과 양식들을 때로는 관습적인 방식으로 사용하기도 하고, 때로는 변형시켜 활용함으로써 <변신이야기> 속 인물들과 사건들을 더욱 생생하게 묘사하였다. 특히 사건의 극적인 전개와 클라이막스가 등장하는 마지막 악장을 반복이 없는 통작형식으로 작곡함으로써 극적인 긴장감을 강화시킴과 동시에 신화의 이야기와 음악을 더욱 밀접하게 연결시켰다. 이렇듯 ⟪변신교향곡⟫은 신화라는 이야기를 음악으로 표현한 성격교향곡이자 다양한 성격악장으로 이루어진 성격교향곡의 집대성이면서, 본격적으로 신화라는 음악외적 소재를 교향곡의 형식에 담았던 의미 있는 작품이다. |Some of the composers in the 18th century began to write instrumental music expressing themes from Greek myths which had been the main sources for vocal music like operas, madrigals, or cantatas since the Renaissance period. One of the most notable instrumental works dealing with mythical characters and narratives were 12 Symphonies after Ovid's Metamorphoses by Carl Ditters von Dittersdorf, who was one of the most prominent composers in Vienna during the second half of the 18th century. He wrote them in "characteristic symphonies", which contains extra-musical elements such as nature, literary, or historical events. Dittersdorf used those characteristic movements to express the various characters and events in the Metamorphoses. Metamorphoses symphonies are of the meaningful works in that they are the instrumental symphonies dealing with Greek myths in earnest as well as that they are compiling all kinds of the characteristic pieces of the period. There should have been many difficulties to express the conflicts between the characters and to unfold the events by instrumental music which has no text. Dittersdorf resolved them by using or transforming the formal characteristics of the symphonies in various ways. Above all, he included at least one sonata form movement and minuet either in independent movement or as an appendage to the finale in order to follow the standards of the symphony in his days. Both sonata form movements and minuets have many repeats in their forms and Dittersdorf made use of those formal restrictions in expressing the characters and events vividly. And the finales of the symphonies are made through-composed without repeats, which reinforce dramatic tension and link the music and drama more closely. We can find diverse topics in his symphonies such as hunting, pastoral, minuet, gavotte, fanfare, sunrise, etc. It was Dittersdorf's true genius to utilize those topics in diverse ways and made the listeners as if they were in the middle of story imagining the scenes and actions while listening the music.; Some of the composers in the 18th century began to write instrumental music expressing themes from Greek myths which had been the main sources for vocal music like operas, madrigals, or cantatas since the Renaissance period. One of the most notable instrumental works dealing with mythical characters and narratives were 12 Symphonies after Ovid's Metamorphoses by Carl Ditters von Dittersdorf, who was one of the most prominent composers in Vienna during the second half of the 18th century. He wrote them in "characteristic symphonies", which contains extra-musical elements such as nature, literary, or historical events. Dittersdorf used those characteristic movements to express the various characters and events in the Metamorphoses. Metamorphoses symphonies are of the meaningful works in that they are the instrumental symphonies dealing with Greek myths in earnest as well as that they are compiling all kinds of the characteristic pieces of the period. There should have been many difficulties to express the conflicts between the characters and to unfold the events by instrumental music which has no text. Dittersdorf resolved them by using or transforming the formal characteristics of the symphonies in various ways. Above all, he included at least one sonata form movement and minuet either in independent movement or as an appendage to the finale in order to follow the standards of the symphony in his days. Both sonata form movements and minuets have many repeats in their forms and Dittersdorf made use of those formal restrictions in expressing the characters and events vividly. And the finales of the symphonies are made through-composed without repeats, which reinforce dramatic tension and link the music and drama more closely. We can find diverse topics in his symphonies such as hunting, pastoral, minuet, gavotte, fanfare, sunrise, etc. It was Dittersdorf's true genius to utilize those topics in diverse ways and made the listeners as if they were in the middle of story imagining the scenes and actions while listening the music.