바르톡(Béla Bartók)의 바흐 <평균율> 편집에 관한 소고: 출판역사와 편집내용을 중심으로 (A Study of Béla Bartók’s Editions of Johann Sebastian Bach’s Well-Tempered Clavier: Publication History and Editorial Contents)

서지정보

· 발행기관 : 한양대학교 음악연구소
· 수록지 정보 : 음악논단 / 22권 / 22호 / 65 ~ 101페이지
· 저자명 : 강만희

초록

In 1907, Bla Bartk, a newly appointed young professor of piano at the Budapest Conservatory of Music, was invited to edit essential piano repertoires, including Johann Sebastian Bach’s Well-Tempered Clavier by the Hungarian music publisher, Kroly Rozsnyai. Bartk had studied many works, including the Well-Tempered Clavier, by J. S. Bach. Bartk edited 48preludes and fugues into four volumes and they were published in 1907 and 1908.
Bartk’s edition of the Well-Tempered Clavier can be judged as a valuable addition to the modern piano of pedagogical literature. It consists of several unfamiliar contents that average piano students, teachers, and performers usually do not expect to discover in his editions.
Firstly, he did not arrange the Well-Tempered Clavier in the order of keys; he based the arrangements on their levels of difficulty. He did not break the prelude and fugue pair; he rather kept them as a set. He carefully considered every aspect of all elements in each set. Secondly, he used multiple staves for the 4- and 5-voice fugues. This visual presentation naturally led the reader into an analytical mind-set. The shape and function of each voice were clearly presented on an individual staff, thus it was easy to understand the structure of the overall fugue. He added reinforcing bass and additional notes to create different tone colors as he emphasized the importance of understanding the sounds of the organ as a model for certain passages and works. Thirdly, he tried very hard to accomplish his goal of teaching proper phrasing in each work. Bartk marked every detail of phrasing and articulation, for which he developed new symbols for dynamics, pedaling, legato, and staccato. Also, he combined multiple meters, freely adapted his new meters, and altered bar lines for deliberation of his calculated intentions. Lastly, Bartk applied the editorial contents which he considered and applied to Bach’s Well-Tempered Clavier for his compositions. Detailed directions, clear phrasing marks, precise tempo indication, mixed meters, altered bar lines, additional appropriate expression marks, and etc. are found both in his edition of Well-Tempered Clavier. In addition, they can also be found in many of his own works, some even considered as master pieces, such as his String Quartets, Mikrokosmos, and other orchestral works.
One who studies or teaches the piano should consider examining and studying Bartok’s edition of J. S. Bach’s Well-Tempered Clavier not only for many surprises and unexpected new ideas, but also for Bartk’s sincere approach to a masterpiece. Bartk’s intention for his well-demonstrated edition was to teach his Hungarian students, as well as others, in his hopes to deliver his own interpretations to the world and the future.

영어초록

In 1907, Bla Bartk, a newly appointed young professor of piano at the Budapest Conservatory of Music, was invited to edit essential piano repertoires, including Johann Sebastian Bach’s Well-Tempered Clavier by the Hungarian music publisher, Kroly Rozsnyai. Bartk had studied many works, including the Well-Tempered Clavier, by J. S. Bach. Bartk edited 48preludes and fugues into four volumes and they were published in 1907 and 1908.
Bartk’s edition of the Well-Tempered Clavier can be judged as a valuable addition to the modern piano of pedagogical literature. It consists of several unfamiliar contents that average piano students, teachers, and performers usually do not expect to discover in his editions.
Firstly, he did not arrange the Well-Tempered Clavier in the order of keys; he based the arrangements on their levels of difficulty. He did not break the prelude and fugue pair; he rather kept them as a set. He carefully considered every aspect of all elements in each set. Secondly, he used multiple staves for the 4- and 5-voice fugues. This visual presentation naturally led the reader into an analytical mind-set. The shape and function of each voice were clearly presented on an individual staff, thus it was easy to understand the structure of the overall fugue. He added reinforcing bass and additional notes to create different tone colors as he emphasized the importance of understanding the sounds of the organ as a model for certain passages and works. Thirdly, he tried very hard to accomplish his goal of teaching proper phrasing in each work. Bartk marked every detail of phrasing and articulation, for which he developed new symbols for dynamics, pedaling, legato, and staccato. Also, he combined multiple meters, freely adapted his new meters, and altered bar lines for deliberation of his calculated intentions. Lastly, Bartk applied the editorial contents which he considered and applied to Bach’s Well-Tempered Clavier for his compositions. Detailed directions, clear phrasing marks, precise tempo indication, mixed meters, altered bar lines, additional appropriate expression marks, and etc. are found both in his edition of Well-Tempered Clavier. In addition, they can also be found in many of his own works, some even considered as master pieces, such as his String Quartets, Mikrokosmos, and other orchestral works.
One who studies or teaches the piano should consider examining and studying Bartok’s edition of J. S. Bach’s Well-Tempered Clavier not only for many surprises and unexpected new ideas, but also for Bartk’s sincere approach to a masterpiece. Bartk’s intention for his well-demonstrated edition was to teach his Hungarian students, as well as others, in his hopes to deliver his own interpretations to the world and the future.

참고자료

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