차이코프스키 ‘환상서곡’의 장르적 경계의 모호성: 환상서곡 《로미오와 줄리엣》(1880)과 《햄릿》(1883)을 중심으로 = The Ambiguity of Genre's Border in Tchaikovsky's Fantasy Overture: Mainly on the Romeo and Juliet, 3rd.(1880) and Hamlet(1983)

다국어 초록 (Multilingual Abstract)

The existing discussions on the Romeo and Juliet and the Hamlet - the fantasy overtures composed by Peter Ilyich Tchaikovsky in late half of nineteen century - have paid attention on the programatic character and as a result, shows tendency to consider them as a symphonic poem of the new German school. However, these two works differ from the intention of the symphonic poem which breaks from the classical formal principle, then pursues the new ideal of symphonic music and in which "the contents decide the form". Because both fantasy overtures have the sonata form which involves exposition, development, and representation between introduction and coda, and, inspite of different program, they have similar formal structure.
The musical construction of two overtures shows transformation of the sonata form in addition to the thematic transformation, episode insertion, and end-weighting construction. That can be appreciated within the overtures tradition. Those show that concert overture had been composed as ever, not had declined by the appearance of the symphonic poem, and had been succeeding the tradition of 19th century's programatic overture with genre individuality distinguishable from the symphonic poem.

국문 초록 (Abstract)

19세기 후반기에 작곡된 차이코프스키의 환상서곡 《로미오와 줄리엣》과 《햄릿》에 대한 기존의 논의들은, ‘환상서곡’이라는 고유의 장르명에도 불구하고, 이 곡들이 갖는 표제적 특성에 주목함으로써, 신독일악파의 교향시로 바라보는 경향이 있었다. 그러나 위의 곡들은 고전주의 형식 원리에서 완전히 탈피하여 “교향악적 음악의 새로운 이상을 추구”하는 동시에, “내용이 형식을 결정”하는 교향시의 의도와 구별된다. 왜냐하면 두 곡의 환상서곡 모두 서주부와 코다 사이에 제시부, 발전부, 재현부(혹은 제시부와 재현부)가 포함된 소나타악장 형식에 기초하고 있어, 서로 다른 표제에도 불구하고, 전체적인 형식적 틀이 서로 매우 유사하기 때문이다. 이 곡들의 악곡구성, 특히 표제의 음악적 구현을 위해 주제변형, 에피소드의 삽입, 종결 지향적 구성 등과 함께 소나타악장 형식의 변형을 보이는 것은 전통적인 표제적 연주회용 서곡, 그 중에서도 ‘극적 특성’을 갖는 서곡들의 전통 안에서 이해될 수 있다. 이는 연주회용 서곡이 교향시의 등장과 함께 쇠퇴한 것이 아니라 여전히 창작되었고, 교향시와 뚜렷이 구별되어 장르 자체의 독자성을 유지한 채 19세기 표제적 연주회용 서곡의 전통을 계속해서 이어가고 있었음을 보여준다.

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