바이글(Joseph Weigl)의 <사략선 선원의 사랑> (L’amor marinaro) 제2막의 3중창, ‘그런 고상한 임무를 수행하기 전에’(Pria ch’io l’impegno)가 19세기 초반 변주곡 주제로 사용된 내용에 관한 소고 - 베토벤(Ludwig van Beethoven)의 내림 나장조 트리오, 작품11에서의 사용을 중심으로 (The Adaptation of “Pria ch’io l'impegno” from Joseph Weigl’s L’amor marinaro in early nineteenth century variations-Ludwig van Beethoven's B-flat Trio for Clarinet, Cello and Piano, Op. 11)

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초록

Joseph Weigl was one of the most prolific opera composers at the end of the eighteen and the beginning of the nineteenth-century Europe. Although he held positions in the Austrian Imperial court, his works were widely produced throughout Europe. As it has happened to other favorite composers in the past, Weigl and his work were not appreciated by many performers and musicologists in the twentieth and twenty-first centuries. This short paper deals with his life and works, especially his dramma giocoso, L’amor marinaro, which was one of the most popular operas from 1797 to 1828 in Europe.
Weigl’s vocal trio, ’Pria ch’io l'impegno’ from Act 2 of L'amor mariaro, was extensively known and adapted by many composers; and for those reasons it was called the ‘L'hommearmé’ of the nineteenth century. This vocal trio was used for quodlibet compositions as well as a theme for instrumental genres. The most well known adaptation of the vocal trio is found in the third movement of Ludwig van Beethoven’s Clarinet Trio in B-flat Major, Op. 11.
Unfortunately Weigl and his vocal trio were forgotten as the initial source and no publications were found. However, there was a single revival production of the opera, L’amor marinaro, in 2003 in Neuburg an der Donau, Germany and musicological minded performers began to identify the source of the theme in their CD liner and program notes.
It is important to know about Joseph Weigl and his most successful opera. Understanding the synopsis of the opera and contents of the vocal trio are essential to better performing and studying compositions based on the vocal trio theme. The vocal trio is in ABA form. The A section, which at that time was mostly served for the theme of many instrumental variations, is in a quatrain form. The vocal trio consists of many buffa elements such as comic characterization in music of sharp dynamic contrast, accents on the wrong syllables, rhythmic exaggerations in dotted notes, syncopation, leaps, etc. Also, the vocal trio reflects the views of the late eighteenth and early nineteenth century European musicians that claimed they would not work without proper rewards and respect.
Beethoven demonstrated his creativity through his variations in his Op. 11. He introduced other possibilities with a simple vocal trio part through his execution of harmony, modulation, tonality, rhythmic transformation, contrapuntal treatment, and formal organization of his Op. 11. Knowing Weigl's vocal trio will improve not only the interpretation of Joseph Wölfl, Frédéric Kalkbrenner, Nicollò Paganini, Josef Gelinek, Luigi Legnani, Matteo Carcassi, and other composers who used Weigl’s trio as a theme, but will also serve in rediscovering a forgotten master and his works.

영어초록

Joseph Weigl was one of the most prolific opera composers at the end of the eighteen and the beginning of the nineteenth-century Europe. Although he held positions in the Austrian Imperial court, his works were widely produced throughout Europe. As it has happened to other favorite composers in the past, Weigl and his work were not appreciated by many performers and musicologists in the twentieth and twenty-first centuries. This short paper deals with his life and works, especially his dramma giocoso, L’amor marinaro, which was one of the most popular operas from 1797 to 1828 in Europe.
Weigl’s vocal trio, ’Pria ch’io l'impegno’ from Act 2 of L'amor mariaro, was extensively known and adapted by many composers; and for those reasons it was called the ‘L'hommearmé’ of the nineteenth century. This vocal trio was used for quodlibet compositions as well as a theme for instrumental genres. The most well known adaptation of the vocal trio is found in the third movement of Ludwig van Beethoven’s Clarinet Trio in B-flat Major, Op. 11.
Unfortunately Weigl and his vocal trio were forgotten as the initial source and no publications were found. However, there was a single revival production of the opera, L’amor marinaro, in 2003 in Neuburg an der Donau, Germany and musicological minded performers began to identify the source of the theme in their CD liner and program notes.
It is important to know about Joseph Weigl and his most successful opera. Understanding the synopsis of the opera and contents of the vocal trio are essential to better performing and studying compositions based on the vocal trio theme. The vocal trio is in ABA form. The A section, which at that time was mostly served for the theme of many instrumental variations, is in a quatrain form. The vocal trio consists of many buffa elements such as comic characterization in music of sharp dynamic contrast, accents on the wrong syllables, rhythmic exaggerations in dotted notes, syncopation, leaps, etc. Also, the vocal trio reflects the views of the late eighteenth and early nineteenth century European musicians that claimed they would not work without proper rewards and respect.
Beethoven demonstrated his creativity through his variations in his Op. 11. He introduced other possibilities with a simple vocal trio part through his execution of harmony, modulation, tonality, rhythmic transformation, contrapuntal treatment, and formal organization of his Op. 11. Knowing Weigl's vocal trio will improve not only the interpretation of Joseph Wölfl, Frédéric Kalkbrenner, Nicollò Paganini, Josef Gelinek, Luigi Legnani, Matteo Carcassi, and other composers who used Weigl’s trio as a theme, but will also serve in rediscovering a forgotten master and his works.

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