Sergei Bortkiewicz의 Piano Sonata No. 2, Op. 60 분석 연구 = An Analytical Study on Piano Sonata No. 2, Op. 60 by Sergei Bortkiewicz

국문 초록 (Abstract)

세르게이 보르트키에비치(Sergei Bortkiewicz, 1877–1952)는 19세기 말부터 20세기 중반에 이르는 시기에 활동한 우크라이나 출신의 작곡가이자 피아니스트로, 조성의 해체와 새로운 음악 사조가 확산되던 시대적 흐름 속에서도 후기 낭만주의 어법을 일관되게 유지한 음악가이다. 그는 러시아적 정서에 기반한 선율적 표현과 독일 낭만주의 전통에서 비롯된 형식적 안정성을 결합함으로써 고유한 절충적 음악 양식을 구축하였으며, 이러한 특징은 특히 피아노 작품에서 두드러지게 나타난다.
보르트키에비치는 러시아 혁명과 전쟁, 망명 등 격동의 역사적 상황 속에 서 여러 지역을 이동하였고, 이러한 삶의 경험은 그의 음악에 다문화적 요소가 반영되는 중요한 배경이 되었다. 그의 작품에는 러시아 민요적 선율과 종소리, 선법 등 교회 음악적 요소를 비롯하여, 독일 낭만주의의 화성 및 형식적 전통, 그리고 다양한 지역적 경험에서 비롯된 음악적 이미지가 복합적으로 나타난다. 이러한 음악적 특성은 피아노를 주요 작곡 장르로 삼았던 그의 예술 세계를 이해하는 핵심 요소라 할 수 있다.
본 연구는 보르트키에비치의 다층적인 음악 정체성이 집약적으로 구현된 작품인 Piano Sonata No. 2, Op. 60을 대상으로, 악장별 구조와 작곡 기법을 중심으로 음악적 특성을 분석하는 데 목적을 둔다. 이를 위해 먼저 그의 생애를 여섯 시기로 구분하여 음악 양식의 변화 과정을 고찰하고, 피아노 작품에 나타나는 러시아적 색채, 독일 낭만주의적 영향, 다문화적 요소를 작품 사례를 통해 살펴보았다. 이러한 논의를 바탕으로 소나타 제2번의 네 악장을 형식, 선율, 화성, 동기 전개 측면에서 분석하여, 세 가지 음악적 특징이 작품 전반에 걸쳐 어떠한 방식으로 통합·구현되고 있는지를 규명하였다.
분석 결과, Piano Sonata No. 2는 러시아적 서정성에 기반한 선율 구성과 반복적인 동기 처리, 독일 낭만주의의 반음계적 화성 진행과 형식적 엄밀성, 그리고 작곡가의 다양한 지역 경험에서 비롯된 다문화적 이미지가 긴밀 하게 결합된 작품임을 확인할 수 있었다. 또한 악장 간 모티브의 재현과 정서적 연계성을 통해 순환적 통일성이 형성되고 있음을 밝힘으로써, 본 작품이 보르트키에비치 후기 음악 양식의 특징을 집약적으로 보여주는 작품임을 제시하였다.
본 연구는 보르트키에비치 피아노 작품에 대한 이해를 확장하는 데 기여함과 동시에, 그의 절충적 음악 양식이 지니는 음악사적 의의를 규명하고자 한다. 특히 국내에서 상대적으로 연구가 미진한 Piano Sonata No. 2에 대한 심층적인 분석을 제시함으로써, 보르트키에비치 연구의 기반을 강화하고 20세기 초 피아노 음악사 속에서 그의 작품이 지니는 가치와 독자성을 재조명하는 데 학술적 의의를 둔다.

목차 (Table of Contents)

• 국문초록 ···························································································· ⅰ
• 표목차 ································································································ ⅴ
• 악보목차 ···························································································· ⅵ
• Ⅰ. 서론 ································································································ 1
• Ⅱ. 보르트키에비치의 생애와 음악적 특징 ·············································· 3
• 1. 시기별 생애 ····················································································· 3
• 1.1 러시아 거주 시기(1877-1902) ······················································ 4
• 1.2 라이프치히 유학 시기(1902-1904) ·············································· 7
• 1.3 베를린 거주 시기(1904-1914) ····················································· 8
• 1.4 콘스탄티노플 거주 및 서방으로의 이동(1914-1922) ······················ 9
• 1.5 오스트리아를 거처 다시 베를린으로(1922-1933) ·························· 11
• 1.6 빈 정착 및 후기(1933-1952) ······················································· 13
• 2. 음악적 양식의 특징 ·········································································· 15
• 2.1 러시아적 색채 ··············································································· 15
• 2.2 독일 낭만주의의 영향 ··································································· 23
• 2.3 다문화적 정체성과 절충적 양식 ······················································ 28
• 2.4 주요 피아노 작품 목록 ·································································· 33
• Ⅲ. 《Sonate for Piano No. 2, Op. 60》분석 ···································· 37
• 1. 작품 배경 ························································································ 37
• 2. 악장별 분석 ··················································································· 39
• 2.1 제 1악장: 소나타 형식의 변용과 주제 전개 ······································· 40
• 2.2 제 2악장: 복합 3부형식과 주제 회상 ··············································· 61
• 2.3 제 3악장: 아치형 구조와 러시아 정교음악의 선율적 요소 ············ 72
• 2.4 제 4악장: 조성 회귀와 종합적 구조 ················································ 82
• 3. 음악적 종합 및 분석 결과 ································································· 92
• Ⅲ. 결론 ····························································································· 95
• 참고문헌 ··························································································· 97
• Abstract ·························································································· 101