비엔나 세폴크로 전통과 18세기 전반의 수난곡 (Vienna's Sepolcro Tradition and Metastasio's La Passione di Gesù Cristo)

서지정보

· 발행기관 : 민족음악학회
· 수록지 정보 : 음악과 현실 / 38호 / 49 ~ 76페이지
· 저자명 : 이남재

초록

“Sepolcro”, which literally means the Holy Sepulcher, is a term applied to a peculiar form of Passion Oratorio which had been flourished during the seventeenth and eighteenth centuries in Vienna. Established in 1640's, this tradition can be characterized as a rather short version of Italian oratorio with a exclusive theme on the Passion and the Crucifixion of Christ; in one structural part; performed with costumes and actions; and in front of the scenic apparatuses which always included the model of the Holy Sepulcher. Antonio Draghi's La vita nella morte (1688) is a typical work of the seventeenth-century sepolcro tradition.
Kapellmeister Fux's sepolcro Il fonte della salute is an excellent example of revealing the transformation of this genre from the seventeenth- to the eighteenth-century form. Fux's original version of 1716 is in one structural part as its seventeenth-century predecessors, while its revised version of 1721 constructed as two parts as contemporary Italian oratorios. Its inner contents, however, reveals the strong tradition of employing allegorical figures as its exclusive protagonists.
Fux's last sepolcro of 1728, which employs only Biblical characters, completely departed from such tradition. The same trait can be also discerned in Metastasio's La Passione di Nostro Signore Gesu Cristo of 1730, which destined to be the most prominent passion text of the eighteenth century.

영어초록

“Sepolcro”, which literally means the Holy Sepulcher, is a term applied to a peculiar form of Passion Oratorio which had been flourished during the seventeenth and eighteenth centuries in Vienna. Established in 1640's, this tradition can be characterized as a rather short version of Italian oratorio with a exclusive theme on the Passion and the Crucifixion of Christ; in one structural part; performed with costumes and actions; and in front of the scenic apparatuses which always included the model of the Holy Sepulcher. Antonio Draghi's La vita nella morte (1688) is a typical work of the seventeenth-century sepolcro tradition.
Kapellmeister Fux's sepolcro Il fonte della salute is an excellent example of revealing the transformation of this genre from the seventeenth- to the eighteenth-century form. Fux's original version of 1716 is in one structural part as its seventeenth-century predecessors, while its revised version of 1721 constructed as two parts as contemporary Italian oratorios. Its inner contents, however, reveals the strong tradition of employing allegorical figures as its exclusive protagonists.
Fux's last sepolcro of 1728, which employs only Biblical characters, completely departed from such tradition. The same trait can be also discerned in Metastasio's La Passione di Nostro Signore Gesu Cristo of 1730, which destined to be the most prominent passion text of the eighteenth century.

참고자료

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