클라우스 후버 <Senfkorn> 분석연구

Abstract

클라우스 후버(Klaus Huber, 1924-2017년)는 1975년 5월, 브레시아 시의 위촉으로, 그 해에 죽은 루이지 달라피콜라(Luigi Dallapiccola, 1904-1975)를 기념하는 작품 <Senfkorn>을 썼다. 그리고, 후버의 오라토리오 <격하-속박-유기-경멸>(Erniedrigt–Geknechtet–Verlassen–Verachtet...)(1975/78-1983) 5번째에 넣은 작품이기도 하다.

<Senfkorn>은, 요한 세바스찬 바흐의 칸타타 선율, 구약 성경 이사야서 11장 6절부터 7절까지의 텍스트, 그리고 구약 성경 시편의 여러 구절을 환언한 에르네스토 카르데날(Ernesto Cardenal, 1925년- )의 ‘살모스’ (Salmos)텍스트를 소재로 인용 하였는데, <Senfkorn>의 분석을 통해 이 소재들의 인용에 대한 타당성과 그것들이 유기적으로 쓰일 수 있었던 방법을 연구할 수 있었다.

또한, 바흐의 칸타타 선율은 단순히 인용을 벗어나 이 작품을 세 부분으로 구성하는 요소로도 의미를 가지며, 동시에 <Senfkorn>에서의 주제로서 작곡가의 메시지를 전달한다. 절대적인 서양 음악에서의 표본이 되는 ‘바흐’라는 인물의 상징성과 ‘다 이루었다’라는 가사를 가진 아리아의 칸타타 선율의 사용으로, 이사야서의 구절과 함께 희망적인 메시지를 전달한다고 추측할 수 있었다.

<Senfkorn>은 세 부분으로 나눌 수 있다. 첫 번째 부분에서는 후버의 현대적 음악 어법 속에서 바흐 칸타타 선율 조각들이 유기적으로 섞여서 나타난다. 후버의 음악은 겨자씨(Senfkorn)를 비유하는 것처럼, 한 개 또는 쉼표 없이 붙은 두 개의 음들이 점묘적으로 나타나는데, 이 음들에 몇 개의 리듬만을 적용하여 그것들을 2개 이상 5개 이하의 리듬들로 조합해 구성한다. 이후 점진적으로 길어진 음들이 지속되면서 그것이 화음이 만든다. 이 화음을 분석한 결과, 후버가 <Senfkorn>을 통해 기렸던 달라피콜라의 화음 특징이 그대로 나타나있었다. 달라피콜라는 후버가 평소 자신의 작품 세계에 대해 설명하며 자신에게 중요했던 사람이라고 꼽았던 인물이기도 한데, 이는 <Senfkorn>에서 달라피콜라를 상징적으로 나타내기 위한 방법이었다고 추측할 수 있었다. 두 번째 부분에서는 바흐의 선율과 화성이 그대로 인용된다. 세 번째 부분에서는 첫 번째 부분의 지속되었던 음가들이 화음으로 제시되다가 도입부의 모티브가 다시 출현하며 이 작품을 마친다.

후버는 전 생애를 통해 자신이 특정 기법의 악파로 형성되는 것을 거부한 작곡가였다. 그만의 미학과 영적인 신앙생활 속에서 후버는 다양한 작곡 기법을 사용했다. 그리고 작품 속의 메시지를 통해 작곡가가 스스로가 가졌던 깊은 고민에 대해 답을 하고자 했다.

또한, 그는 자신의 작품에서 철학적, 종교적, 사회적인 문제를 자주 다루고 있으며, 그의 작품은 도덕적, 예술적, 심미적 신념이 깊다. 동시에 그의 작품은 인간애적인 메시지를 자주 포함하고 있는데, 결론적으로 <Senfkorn>에서도 이러한 인간애적인 사상이 드러남을 확인할 수 있었다. | In May 1975, Klaus Huber(1924-2017) composed <Senfkorn> by request of Brescia city in memoriam of Luigi Dallpiccola (1904–1975), who died in the same year. This music is also included in Huber’s oratorio <Downgrading-Restriction-Abandonment-Contempt>(Erniedrigt–Geknechtet–Verlassen–Verachtet...) (1975/78-1983) as the fifth.

In <Senfkorn>, Huber quoted texts of ‘Salmos’ written by Ernesto Cardenal(1924- ), who paraphrased cantata melody of John Sebastian Bach, passages of Isaiah Chapter 11 Verse six to seven and some from Psalm in the Old Testament. Here, Huber analyzed why it was valid to cite those subject matters and how they were used organically in his work.

Furthermore, cantata melody of J.S. Bach implies the triple structure and a theme of <Senfkorn> more than a simple citation. To convey a hopeful message in combination with biblical verses of Isaiah, Huber seemed to introduce cantata melody of the aria, which signifies symbolism of J.S. Bach, an absolute representative figure of Western music, and has lyrics like 'All have been achieved'.

<Senfkorn> can be divided into three sections. In the first phase, J.S. Bach’s cantata melody flows naturally into the Huber’ music, which was composed in modern parlance. There are one or two notes attached without any rests stippling like mustard seeds(senfkorn). Huber applied only a few rhythms to these notes, thus the whole piece consists of two to five types of rhythms. Afterwards, the notes become gradually longer and continue, creating harmony. According to analysis of the chords, it well displays the chordal characteristics of Dallapiccola, whom Huber wanted to commemorate. While explaining about his work, Huber considered Dallapiccola as the most admirable figure in his life. Thus, it can be thought that Huber intended to symbolize Dallapiccola by adopting his chords in <Senfkorn>. The second part includes melody and harmony of J.S. Bach directly. Finally in the third section, the continued sounds of the first phase are played in harmony and the finale comes as reappearance of the introductory motifs.

Throughout his life, Huber was a composer who refused to be grouped by and limited to a certain music school.

In his own aesthetics and spiritual life, he employed various compositional techniques.

He also sought to answer for his deep worries through messages in his music.

His works not only deal with philosophical, religious and social issues frequently, but they are also deep in moral, artistic and aesthetic beliefs. At the same time, Huber often delivered philanthropic messages through his music, and <Senfkorn> is one of the examples that presents this humanity.; In May 1975, Klaus Huber(1924-2017) composed <Senfkorn> by request of Brescia city in memoriam of Luigi Dallpiccola (1904–1975), who died in the same year. This music is also included in Huber’s oratorio <Downgrading-Restriction-Abandonment-Contempt>(Erniedrigt–Geknechtet–Verlassen–Verachtet...) (1975/78-1983) as the fifth.

In <Senfkorn>, Huber quoted texts of ‘Salmos’ written by Ernesto Cardenal(1924- ), who paraphrased cantata melody of John Sebastian Bach, passages of Isaiah Chapter 11 Verse six to seven and some from Psalm in the Old Testament. Here, Huber analyzed why it was valid to cite those subject matters and how they were used organically in his work.

Furthermore, cantata melody of J.S. Bach implies the triple structure and a theme of <Senfkorn> more than a simple citation. To convey a hopeful message in combination with biblical verses of Isaiah, Huber seemed to introduce cantata melody of the aria, which signifies symbolism of J.S. Bach, an absolute representative figure of Western music, and has lyrics like 'All have been achieved'.

<Senfkorn> can be divided into three sections. In the first phase, J.S. Bach’s cantata melody flows naturally into the Huber’ music, which was composed in modern parlance. There are one or two notes attached without any rests stippling like mustard seeds(senfkorn). Huber applied only a few rhythms to these notes, thus the whole piece consists of two to five types of rhythms. Afterwards, the notes become gradually longer and continue, creating harmony. According to analysis of the chords, it well displays the chordal characteristics of Dallapiccola, whom Huber wanted to commemorate. While explaining about his work, Huber considered Dallapiccola as the most admirable figure in his life. Thus, it can be thought that Huber intended to symbolize Dallapiccola by adopting his chords in <Senfkorn>. The second part includes melody and harmony of J.S. Bach directly. Finally in the third section, the continued sounds of the first phase are played in harmony and the finale comes as reappearance of the introductory motifs.

Throughout his life, Huber was a composer who refused to be grouped by and limited to a certain music school.

In his own aesthetics and spiritual life, he employed various compositional techniques.

He also sought to answer for his deep worries through messages in his music.

His works not only deal with philosophical, religious and social issues frequently, but they are also deep in moral, artistic and aesthetic beliefs. At the same time, Huber often delivered philanthropic messages through his music, and <Senfkorn> is one of the examples that presents this humanity.