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원성희 이화여자대학교 부설 한국문화연구원 1992 韓國文化硏究院 論叢 Vol.60 No.1
The realization that Handel wrote many more oratorios than are known in this country, while his "Messiah" is probably not only the most frequently performed large choral composition, but the most frequently performed work of any kind, was the impetus to the writer to embark on this study. Musicians are familiar with the titles of some of his other oratorios, and from time to time others, such as "Israel in Egypt", are performed here, but on the whole this considerable corpus of works is unknown. The starting point was in establishing just how many oratorios Handel wrote. Handle authorities and general music history books all vary, raging from 18to 26 works. The reasons for this are several, but firstly, Handel himself did not often label his works "oratorios", and secondly, there has been a tendency to call any choral work, not obviously and opera, an oratorio. It is necessary to consider the various components of a work before categorizing it. Howard E. Smither, in Vol. 2 of his monumental work A History of the Oratorio quotes the 18th century musicologist Scheibe as saying that an oratorio is a religious, dramatic composition. Consequently, the pastoral works, such as "Acis and Galatea" and "LAllegro, il Penseroso, ed il Moderato", and music dramas, such as "Alexanders Feast", "Hercules" and "Semele" should be eliminated from the sum of oratorios, as should the Odes, "Ode for St. Cecilias Day", and "Ode for the Birthday of Queen Anne". Paul Henry Lang, in hi great work George Frideric Handel, considers "II Trionfo del tempo e della verita", often referred to as Handels first oratorio, as a serenata, and the translated and expanded version of it, "The Triumph of Time and Truth" as an English pastoral. Mainly following Langs analysis, it was established that Handel wrote 18 oratorios, 17 of them being of the new English oratorio genre, which did not exist before Handel, and one of them, "La Resurrezione:, and Italian oratorio (secular, according to Dean and Lang) in the Venetian tradition. "La Resurezione: was written and performed while Handel was still a resident of Italy, in his 20s. The others were composed, and some of them revised many times, when Handel was established in England, between the years 1720 and 1751. these oratorios, apart from "Messiah" and "Theodora", which is based on the story of the martydom of a 4th century Christian women, all deal with Old Testament (or Apocryphal) heroes, except "Israel n Egypt", which is based on one of the most dramatic Biblical stories, the deliverance of the people of Israel from Egypt. However, it is not presented in a dramatic way, that is, not with characterization. The titles of the/English-oratorio in order of composition are as follows: Esther" (1720), "Deborah" (1733), "Athalia" (1733), "Saul" (1738), "Israel in Egypt" 91738), "Messiah" (1741), "Samson" (1741), "Joseph and his Brethren" (1743), "Belshazzar" (1744), "Occasional Oratorio" (1746), "Judas Maccabeaus" (1746), "Alexander Balus" (1747), / "Joshua" (1747), "Solomon" (1748), "Susanna" (1748), "Theodora" (1749) and "Jeptha" (1751). Most of these English dramatic oratorios are divided into acts and scenes, like an opera. Thus it is easy to see that the intent of them as to present works every bit as dramatic as operas or plays. The reason for this is not hard to find. In England, as in Italy at the same time, no opera or other work of drama could be performed in a public theater during the season of Lent. For this reason, Lang calls the oratorios which were produced during this season in Italy "subterfuge operas" and although he does not use the same words to describe Handels oratorios, the same restrictions were instrumental to the birth of dramatic works which, because of their subject matter and their subdued manner of production, were acceptable for performance during Lent, and in public theaters, notably Covent Garden. Only "Messiah" (3 parts), "Israel in Egypt" (2 parts) and "Occasional Oratorio" (3 parts) are not presented in "Acts". "Judas Maccabeaus" is also a possible exception, as in the full sore the word "Act" in each of three cases is in parenthesis, and the acts are not divided into scenes, but the reason for the parentheses has not yet been found. Each of the oratorios, except for "Messiah", "Israel in Egypt" and "Occasional Oratorio", has a list of dramatis personae. ("Saul, with 12, has the longest list of characters). Every oratorio is a lengthy work for various soloists who sing recitatives and arias and the occasional ensemble, a chorus of 4 or 8 voices, with the occasional use of a different number of voices, and an orchestra which, in many cases, plays instrumental numbers apart from the overture. "Israel in Egypt" is the only oratorio not to begin with an overture. Several of the overtures are in French overture (AAB) form, but most are highly individual in construction. Only one is in Italian overture form. In several instances, Act Ⅲ also begins with an overture of "sinfonia". The orchestration of the earliest and later oratorios is alike simpler than those of the late 1730s and 40s when at times it is very colorful, employing some unusual instruments, such as lute, mandolin, recorders as well s transverse flutes, extra large drums, the lowregistered natural trumpet "Principal", harp, theorbo, carillon, etc. Sometimes the strings are divided into 3 or 5 parts each, and in some cases 3 trombones are utilized. In all cases, strings and basso continuo are called for, and usually pairs of oboes and bassoons, as is the case in the normal baroque orchestra. The effectiveness of Handels orchestration techniques lies in the disposition of the instruments according to the dramatic requirements of each particular composition. As a leading composer of the baroque era, one would consider that there would be some consistency in the use of the baroque musical forms of recitativo secco and aria da capo, but this is not the case in the oratorios. In the earlier compositions, most of the recitatives are of the secco type, and most of the arias are da capo in form, but in his middle period, Handel dispenses with the da capo (dal segno) type to a marked degree, and also uses more of the recitativo accompagnato style, leading to a belief that the trend would continue. However, in the later works Handel reverts mainly to the forms of the earlier ones, except that most of the arias are "dal segno" rather than "da capo" in form, thereby dispensing with the orchestral introduction the second time. Each of these oratorios contains some wonderful, powerful music, and, according to the dramatic needs, warm, lyrical, evocative music can be found in abundance. The most successful, from a dramatic point of view, are those in which the libretto has inspired Handel to great heights. Even such a genius as Handel could not do much with a banal libretto, of which "Joseph" is a prime example. For many years after Handels death, a number of these scores were not available in full score, indeed had not been published. Thanks to the work of the German musicologist Karl Chrysander (1826-1901) they are now published (by Kalmus), although some need much more editing. Thus it is hoped that many more of these oratorios will be performed in this, and in other countries, before the end of this century.
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음악적 측면에서 본 한국 가곡에 대한 연구 : 독일 가곡과의 비교/Dorothy Underwood
元聖喜 이화여자대학교 한국문화연구원 1981 韓國文化硏究院 論叢 Vol.37 No.-
For the past 60 years, one of the dearest things in the lives of the Korean people has been the Korean Art Song. However, the absence of any reference materials to this particular form of song-writing seemed to be a need waiting to be met, and thus became the incentive for embarking on this short study. "Art Song" may be defined as a short composition, the setting of a poem for voice with piano accompaniment in a lyrical style. Although Korean art songs are all settings of Korean poems by Korean composers, for Korean people, the means used in their composition are those of Western music. Thus the decision was made to approach the form from the point of view of Western music. This inevitably meant that a comparative study with some body of Western mustern music was desirable. It was therefore decided to study the songs contained in a 1972 publication, Best 200 Korean lyric Songs, and a 20volume book of German songs, so well-loved by the Korean people, called Lieder-Hort. Taking as a starting point Percy A. Scholes' statement that "Folk song is the basis of all music", the body of the paper with a consideration of folk melodic elements, leading to a short survey of solo vocal music forms. The study then progresses to an analysis of these representatives of the Korean art song genre. The detailed analysis of the component parts of the songs yields the following results : 1) The majority of the songs are in Through-Composed Form (Durchkomponiert), 63%, while 69 songs, or 34.5%, are in Strophic Form, the remainder being some in Mixed Form. By comparison, 77% of the lieder are Through-Composed, and 19.7% the simpler Strophic Form. 2) Korean art songs are short, 73.5% of hem consisting of 50 measures or less, and the average length being only 40 measures. (The 122 lieder average 56 measures, and only 50.8% of them are 50 measures or less, besides which they are distributed more evenly.) 3) Korean songs share with German a preference for Double over Triple time, for Simple over Compound time. However, a much greater proportion change their time signature several times throughout the piece (38% as compared with 16% of the lieder.) 4) The tempo of the Korean songs is generally somewhat slower than the lieder, and have a smaller variability compass. Also, fewer of them change their tempo (8.5% compared with 15.6%)and the average length of those songs which do (59 bars) is considerably shorter (lieder average 97.5 bars) 5) The same keys are favoured by both Korean and German composers - E- flat major, G major, and f major. Together with their relative minor keys, they account for 47.5% of the Korean songs, 37% of the lieder. Major tonality is preferred to minor. This point is particularly interesting in view of the fact that many Korean songs employ (a) the 5-tone scale, (b) the natural minor scale, and also abound with other elements which reflect Korean national music's melodic tendencies, which give an overall feel of the minor mode. (This is in addition to the influence of Korean rhythmic characteristics.) 6) Marks of expression are used sparingly, and mostly are concerned with volume. Other signs, such as staccato, or special accents, are used in only 25% of the songs. 7) The majority of Korean songs (89%) end quietly. 8)Harmony is obviously not considered an important element of Korean song. An important consideration in art song is the piano accompaniment. Analysis of these 200 songs revealed that 32.5% of them utilize one of seven different kinds of accompanying figure, and that a high proportion of the remainder also employ a very simple piano part. Nearly 50% of the songs begin with an introduction which includes all or part of the opening melodic phrase. In performance practice, the hallmark of the Korean art song is "emotion", which is to be achieved, often at the cost of disregarding the way in which the song has been written. Among other matters, the songs tend to be sung much more slowly than indicated by the composer. To sum up, Korean art songs are essentially of the simplest nature and construction. In almost every aspect, they are considerably les varied than the German lied. Because of the importance of : emotion" in the performance of them, we will look for some study to be done on the relationship of the song's poem and music.
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