L. V. Beethoven Violin Sonata No.5 Op.24 F Major 1악장 분석연구

Abstract

루드비히 반 베토벤(L . V. Beethove, 1770-1827)은 고전시대의 대표적 인 작곡가임과 동시에 낭만시대로의 길을 열어놓은 중요한 작곡가이다. 특 히, 베토벤은 소나타 형식에 있어서 하이든, 모짜르트의 음악적 특성을 이 어받아 자신의 음악적 사고와 잘 결합시켜 소나타 형식을 완성시켜 예술적 경지에 이르게 하였다. 베토벤은 모든 장르에 걸쳐서 작품을 썼으며, 형식 과 전통의 틀에서 벗어나 자유로운 감정의 표출과 자유로운 형식의 표현으 로 낭만시대 음악에 많은 영향을 주었다. 베토벤은 그의 작품들 가운데 32곡의 피아노 소나타, 10곡의 바이올린 소나타, 5곡의 첼로 소나타를 작곡했다. 베토벤의 10개의 바이올린 소나 타 중에서 5번은 “봄(Spring Sonata)”이라는 부제와 함께 베토벤을 대표 하는 걸작으로 손꼽히고 있다. 1801년에 작곡된 이 곡은 베토벤의 작품활 동 시기 중 초기 말에 해당하는 작품으로 하이든과 모짜르트의 영향에서 벗어나 독자적인 모습을 보여 주고 있다. 이 곡은 정통적인 소나타 형식의 구조에 기초를 두지만, 낭만주의적 경향을 볼 수 있는 곡이다. 본 논문에서는 베토벤의 바이올린 소나타 No.5 Op.24 “봄” 제1악장의 형식과 구조를 분석하고자 한다. 그리하여 제1악장에서 나타나는 거시적 인 화성구조를 통하여 소나타 알레그로 형식(Sonata Allegro Form)의 특 징인, 주제의 대립과 조성의 진행이 어떻게 나타나는지 살펴보고, 베토벤 이 어떻게 낭만적인 요소를 융합시켰는지 살펴보고자 한다. 이러한 연구들 로 이 곡이 지닌 특징을 잘 파악하여 올바른 해석으로 이 곡을 연주하는 학생들에게 실질적으로 도움이 되었으면 한다.; This thesis is the result of the study on how L.V. Beethoven expressed his unique view on the Sonata Allegro Form, which was inherited from the past generation. The study on this particular Beethoven’s piece took the scholastic approach to studying the overall harmony structure in Violin Sonata No.5 Op.24, 1st movement. In the midst of the transitional period from the 18th century’s Classical music to the newly emerging Romantic one, L.V. Beethoven was establishing his musical charismatic status and founding his musical authenticity at the same time - the unique nature as a composer he depicts on his music. L.V. Beethoven is the composer who was not only completed the Classical music period but he also opened the door to the Romantic era. The L.V. Beethoven’s Violin Sonata No. 5 Op. 25 follows his first period of composing style. Musical structure wise, this piece expanded the third movements into the fourth by additionally introducing the Scherzo. Within the piece, the Romantic period of musical characteristic comes into play as well at the beginning of this piece by playing with violin and chorusing piano. Although, the first movement of this piece shows very typical implication of Sonata Allegro Form, the overall harmony changes in progression such as the introduction, the development, and the recapitulation reveals the structure as of I . (III) . V - (III) - I. This is very striking structural progression compared to the previous era’s one: I-V-I. Typically, the musical ideas are organized on the basis of key area so it plays a distinguishing role to recognize the musical ideas within the musical form. And also, the modulation of keys can be a vital mean to identify the main variation of musical structure within the piece. Since the relationship between I and V is particularly important, using the V as the key area had special meaning in order to identify which musical structure the piece intended to follow. However the relationship between I and III is more commonly appeared on minor than major key in this composing piece and, it doesn’t progress to the III in the major tonal based arrangement. In contrast to the minor key, the III in major key was very less elected as the tonic chord without accident notation. Therefore, the relationship amongst I . III . I appearing on this piece shows overall progression of chord in tonality, and it is imperative to note that it shows the tonal characteristic in the period of Romantic era. Besides of this unique aspect, the expanding the V to cater the chromatic, the mixture, and the tonic chords also demonstrates the harmony characteristic of the Romantic era. Even though the first movement of Beethoven’s Violin Sonata No.5 Op.25 followed the earlier Beethoven's composing style, this piece has more music historical values in terms of stepping forward to the Romantic era's musical structure. He surely inherited the typical Sonata Allegro Form of Haydn’s and Mozart’s tradition. But he didn’t fail to utilize his own creative personality to reflect a romantic aspect: romantic lyricism and gentle musical touches.