칼 마리아 폰 베버의 <바순 협주곡 F장조, Op. 75>의 분석연구

Abstract

Carl Maria von Weber was born in November 1786 in Eutin, Holstein in Germany and passed in London in 1826, and is a pianist and composer that represents the Romantic Period. For his magnum opus, there is the opera <Der Freischütz>, the concerto <Clarinet Concerto Eb Major, Op.74>, <Bassoon Concerto F Major, op. 75> and the wind and string instrumental music <Aufforderung zum Tanz>. Weber, having seen from early on the potential of the clarinet and bassoon, which had previously gone largely unrecognized, composed the concerto. In 1811, Weber composed the Bassoon Concert in F Major for Brandt, who in 1811 was at the time living in Munich and serving as a royal musician as well as being a bassoonist. The Bassoon Concerto is comprised in total of 3 movements, with the 1st Movement being Allegro ma a non troppo, the 2nd being Adagio and the last and 3rd movement being Allegro. The 1st movement is a mixture of Ritornello method of the Baroque concertos and the Sonata method of the Classical period, the 2nd movement is composed of 3 parts in the Rondo form and the 3rd movement utilizes the Rondo form. The relationship between the movements of the concerto, in terms of Tonic(F)-Subdominant(Bb)-Tonic(F) has preserved the traditional methods of the Classical Period. In terms of the features of the orchestra and the solo instrument, it is that of repeating the theme as well as the orchestra's connection, development and expansion of the theme. Moreover, by using the solo instrument, various methods of the bassoon has been presented, and also has utilized the virtuoso autonomous parts. Weber has effectively utilized the bassoon's pastoral melody and the technical/quick passage rendition and therefore has contributed significantly to the development of the concertos of wind and string instrumental music.; 칼 마리아 폰 베버(Carl Maria von Weber)는 1786년 11월 독일 홀 스타인주에 있는 오이틴에서 태어나 1826년 런던에서 사망한 독일 낭만주의를 대표하는 피아니스트이자 작곡가이다. 그의 대표작으로는 오페라 <마탄의 사수>(Der Freischütz)와 협주곡 <클라리넷 E♭장조 Op.74>, <바순협주곡 F장조, Op.75> 그리고 관현악 <무도회의 권유>(Aufforderung zum Tanz)등이 있다. 베버는 당시 독주악기로서 주목받지 못했던 클라리넷과 바순의 가능성을 일찍 발견하여 협주곡을 작곡했다. 베버는 1811년 뮌헨에 거주하던 시기에 궁정 음악가이자 바순 연주자였던 브란트를 위해 <바순 협주곡 F장조, Op.75>를 작곡했다. 바순 협주곡은 총 3악장으로 구성되어 있으며 제1악장은 Allegro ma non troppo, 제2악장은 Adagio 그리고 마지막 악장은 Allegro이다. 제1악장은 바로크시대 협주곡의 리토르넬로 형식과 고전주의 시대 소나타형식의 혼합형식이며, 제 2악장은 론도풍의 제3부분형식 그리고 제3악장은 론도형식을 사용했다. 바순 협주곡의 악장 간 조성관계는 Tonic(F)-Subdominant(B♭)-Tonic(F)의 고전시대의 전통적 형식을 유지하였고 오케스트라와 독주악기의 특징으로는 주제요소들의 반복과 함께 오케스트라가 주제를 연결하고, 발전, 확장시켜나가는 것이다. 또한 독주악기를 사용하여 바순의 다양한 기법들을 선보였고 비르투오소(Virtuoso)적인 독주부분을 사용하였다. 베버는 바순의 목가적인 선율과 기교적인 빠른 패시지(passage) 연주를 효과적으로 활용하여 낭만시대 목관악기 협주곡의 발전에 큰 공헌을 하였다.|Carl Maria von Weber was born in November 1786 in Eutin, Holstein in Germany and passed in London in 1826, and is a pianist and composer that represents the Romantic Period. For his magnum opus, there is the opera <Der Freischütz>, the concerto <Clarinet Concerto Eb Major, Op.74>, <Bassoon Concerto F Major, op. 75> and the wind and string instrumental music <Aufforderung zum Tanz>. Weber, having seen from early on the potential of the clarinet and bassoon, which had previously gone largely unrecognized, composed the concerto. In 1811, Weber composed the Bassoon Concert in F Major for Brandt, who in 1811 was at the time living in Munich and serving as a royal musician as well as being a bassoonist. The Bassoon Concerto is comprised in total of 3 movements, with the 1st Movement being Allegro ma a non troppo, the 2nd being Adagio and the last and 3rd movement being Allegro. The 1st movement is a mixture of Ritornello method of the Baroque concertos and the Sonata method of the Classical period, the 2nd movement is composed of 3 parts in the Rondo form and the 3rd movement utilizes the Rondo form. The relationship between the movements of the concerto, in terms of Tonic(F)-Subdominant(Bb)-Tonic(F) has preserved the traditional methods of the Classical Period. In terms of the features of the orchestra and the solo instrument, it is that of repeating the theme as well as the orchestra's connection, development and expansion of the theme. Moreover, by using the solo instrument, various methods of the bassoon has been presented, and also has utilized the virtuoso autonomous parts. Weber has effectively utilized the bassoon's pastoral melody and the technical/quick passage rendition and therefore has contributed significantly to the development of the concertos of wind and string instrumental music.