윤이상의 「피아노를 위한 간주곡 A」에 관한 연구

Abstract

새로운 시대조류로 구분되는 20세기에 살다간 한국 출신의 세계적인 작곡가 윤이상(尹伊桑, 1917. 9. 17 – 1995. 11. 4)은 서구적인 것을 한국적인 전통과 융합시킨 작곡가로서 국제적인 명성을 누려왔다. 본 논문에서는 그의 생애와 작품세계, 음악관과 작곡기법을 살펴보았고, 이를 바탕으로 하여 「피아노를 위한 간주곡 A (Interludium A für Klavier), 1982」를 연주자의 관점에서 분석하였다. 이 곡은 윤이상이 작곡한 두 개의 피아노 곡 중 하나로서, 그의 실험적인 작곡기법과 서양현대음악의 여러 요소들이 서로 소통하며 독특한 음악세계를 구축해 나가던 시기의 작품이다. 이 곡에서 가장 두드러진 작곡기법은 ‘주요음기법’이다. 그러나 크게 세 부분으로 나뉘는 각 부분에서 ‘주요음 A’를 표출하는 작곡가의 방식은 다소 차이가 있다. 제Ⅰ부에서는 서서히 드러나는 주요음 A의 기운을 화음 안에서 암시한다. 정적인 흐름의 간주부분인 제Ⅱ부에서는 끊임없이 울리는 주요음 A가 구조의 골격이 된다. 제Ⅲ부에서는 다양한 리듬과 음형을 가진 역동적인 모습의 주요음 A가 변형되고 발전되며 강한 이미지를 준다. 이를 이 곡의 사상적 기반이 되는 도교철학의 관점에서 해석하였을 때, 주요음 A는 세상의 근원이며 그 자체인 ‘태극(太極)’의 형상화라고 할 수 있다. 그 주요음 A가 제Ⅰ부에서는 곡의 터전이 되어 ‘음(陰)’의 성격으로 태동되고, 제Ⅱ부에서는 줄기가 되어 그 기운이 표면 위로 드러나는 ‘양(陽)’의 모습을 띤다. ‘음(陰)’과 ‘양(陽)’의 과정을 거친 주요음 A는 제Ⅲ부에서 변화무쌍한 가운데 질서를 이루어나가는 ‘삼라만상(森羅萬象)’을 보여준다. 이러한 삼라만상이 바로 「피아노를 위한 간주곡 A」그 자체라고 할 수 있을 것이다. 이 곡은 피아노라는 서양악기를 이용하여 한국 전통음악의 시김새와 농현을 담아내었고 다양한 꾸밈음, 복잡한 리듬, 트릴, 트레몰로, 폭발적인 화음, 빠른 32분음표의 질주, 극단적인 다이나믹 등을 요구하기 때문에 연주하기가 매우 난해하다. 그러나 연주자는 세밀한 해석과 철저한 준비로 기교적 함정에 빠지지 않도록 하여야 할 것이다. 지금까지도 논란이 되고 있는 윤이상의 행적으로 말미암아, 남북관계의 긴장도와 비례해 색안경을 끼고서 그의 작품을 대하는 경우가 많은 것이 현실이다. 본 논문이 미력하나마 「피아노를 위한 간주곡 A」의 음악적 유산으로서의 그 가치를 재발견하고, 그의 작품들에 대한 활발한 연구가 이루어지는 계기가 되었으면 한다. 또한 그의 음악이 ‘한국적인 것이 세계적인 것’이 되는 방법을 모색하는 차세대 음악가들에게 대안을 찾는 하나의 암시가 되길 바란다.

| Isang Yun (1917 - 1995), the international Korean composer who lived in the twentieth century characterized a new era, and became famous as a composer who conflated Korean tradition with western art. Reviewing Yun’s life, world of art works, music view and composition techniques, this study analyzed 「Interludium A für Klavier , 1982」 from pianists' perspectives. This is one of two piano works which he wrote while he was building up his own unique music world by combining his experimental composition techniques with various factors of the western modern music. The most remarkable composition technique of this work is ‘Haupttontechnik’. But there are a few differences in the way he reveals ‘Hauptton A’ in each of the three parts of this work. In partⅠ, he gradually shows ‘Hauptton A’ involved in a chord. In part Ⅱ, an interlude, the constantly appearing ‘Hauptton A’ becomes a main frame in the static flow. In part Ⅲ, ‘Hauptton A’ has such various rhythms and figures that it gives off a powerful image. From the Taoist perspective as a philosophical background of this work, this study interprets ‘Hauptton A’ as the formation of the yin-yang symbol ― which is both the source of world and the world itself. In partⅠ, ‘Hauptton A’ becomes a beginning yin as the base of this music. In part Ⅱ, ‘Hauptton A’ performs a lead role and exposes its energy as a yang. Passing through yin and yang, in part Ⅲ, ‘Hauptton A’ becomes the nature of heaven and earth which is very changeable but forming an order. It can be argued that this nature of heaven and earth is 「Interludium A für Klavier」. This music is very hard to play because it has sigimsae and nonghyeon by a western musical instrument. It also contains various ornaments, complex rhythms, trills, tremolos, explosive chords, fast tuplets of 32nd-notes and extreme dynamics. However players should try not to fall into a technical trap and aim for precise interpretation and thorough preparation. Due to Isang Yun's episodes which has been controversial so far, some people tend to look at his works from a narrow standpoint by the level of tension of South-North Korean relations. Finally this study expects to serve as a momentum to rediscover the value of his 「Interludium A für Klavier」 as musical heritage and to conduct research on his works more vigorously. Also his works can be seen as one suggestion to the next generation of musicians looking for the way to manifest the phrase, ‘the most Korean style is the most global style’.; Isang Yun (1917 - 1995), the international Korean composer who lived in the twentieth century characterized a new era, and became famous as a composer who conflated Korean tradition with western art. Reviewing Yun’s life, world of art works, music view and composition techniques, this study analyzed 「Interludium A für Klavier , 1982」 from pianists' perspectives. This is one of two piano works which he wrote while he was building up his own unique music world by combining his experimental composition techniques with various factors of the western modern music. The most remarkable composition technique of this work is ‘Haupttontechnik’. But there are a few differences in the way he reveals ‘Hauptton A’ in each of the three parts of this work. In partⅠ, he gradually shows ‘Hauptton A’ involved in a chord. In part Ⅱ, an interlude, the constantly appearing ‘Hauptton A’ becomes a main frame in the static flow. In part Ⅲ, ‘Hauptton A’ has such various rhythms and figures that it gives off a powerful image. From the Taoist perspective as a philosophical background of this work, this study interprets ‘Hauptton A’ as the formation of the yin-yang symbol ― which is both the source of world and the world itself. In partⅠ, ‘Hauptton A’ becomes a beginning yin as the base of this music. In part Ⅱ, ‘Hauptton A’ performs a lead role and exposes its energy as a yang. Passing through yin and yang, in part Ⅲ, ‘Hauptton A’ becomes the nature of heaven and earth which is very changeable but forming an order. It can be argued that this nature of heaven and earth is 「Interludium A für Klavier」. This music is very hard to play because it has sigimsae and nonghyeon by a western musical instrument. It also contains various ornaments, complex rhythms, trills, tremolos, explosive chords, fast tuplets of 32nd-notes and extreme dynamics. However players should try not to fall into a technical trap and aim for precise interpretation and thorough preparation. Due to Isang Yun's episodes which has been controversial so far, some people tend to look at his works from a narrow standpoint by the level of tension of South-North Korean relations. Finally this study expects to serve as a momentum to rediscover the value of his 「Interludium A für Klavier」 as musical heritage and to conduct research on his works more vigorously. Also his works can be seen as one suggestion to the next generation of musicians looking for the way to manifest the phrase, ‘the most Korean style is the most global style’.