바흐의 <브란덴부르크 협주곡>, 그 회고와 혁신 - 제5번 협주곡(BWV 1050)을 중심으로 - (Johann Sebastian Bach's Brandenburg Concertos: Retrospect & Innovation - Focusing on Concerto No. 5 BWV 1050 -)

서지정보

· 발행기관 : 한양대학교 음악연구소
· 수록지 정보 : 음악논단 / 23권 / 21 ~ 45페이지
· 저자명 : 나주리

초록

Brandenburg Concerto No. 5 has its special historical and stylistic meaning in that it raised the continuo instrument cembalo into the grade of a solo instrument. In addition, this concerto accepts and goes beyond the concerto model of Antonio Vivaldi. In other words, while the external frame such as the alteration of tutti ritornello and solo episode and the reduced ritronello part follows Vivaldi's model, the principle of symmetrical structure is applied to the entire work in Bach's concerto. In detail, the individual phrase progresses in a very complex manner through the meticulous and refined unity-oriented composition method being completely free from the amusing feature. The loosely combined motives and clearly structured phrases, which is one of the major features in Vivaldi's concertos, are replaced with the organization with various associations. In addition, many other features including the 'singing allegro' in the movements with fast tempo, the vocal motives in the movements with slow tempo, the sentimental moments expressed in several places and their subsequential contrasting effects, specially the unique transformation and development in the subject and motive indicate that Bach introduced new concepts based on the traditional concerto grosso. This resulted in overcoming the static form of baroque concerto and foreshadowing the expressive music, even the Viennese classical music in the future.

영어초록

Brandenburg Concerto No. 5 has its special historical and stylistic meaning in that it raised the continuo instrument cembalo into the grade of a solo instrument. In addition, this concerto accepts and goes beyond the concerto model of Antonio Vivaldi. In other words, while the external frame such as the alteration of tutti ritornello and solo episode and the reduced ritronello part follows Vivaldi's model, the principle of symmetrical structure is applied to the entire work in Bach's concerto. In detail, the individual phrase progresses in a very complex manner through the meticulous and refined unity-oriented composition method being completely free from the amusing feature. The loosely combined motives and clearly structured phrases, which is one of the major features in Vivaldi's concertos, are replaced with the organization with various associations. In addition, many other features including the 'singing allegro' in the movements with fast tempo, the vocal motives in the movements with slow tempo, the sentimental moments expressed in several places and their subsequential contrasting effects, specially the unique transformation and development in the subject and motive indicate that Bach introduced new concepts based on the traditional concerto grosso. This resulted in overcoming the static form of baroque concerto and foreshadowing the expressive music, even the Viennese classical music in the future.

참고자료

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