Charles-Marie Widor의 ogan smphony Op. 13 No. 1 in C minor 분석 연구 = An analysis of Charles-Marie Widor의 organ symphony Op. 13 No. 1 in C minor

다국어 초록 (Multilingual Abstract)

Widor is a representative composer of the Symphonic School. He made 10 organ symphonies that are typically romantic. The purpose of this study was to investigate No.1 in Op.13 as one of the foresaid ten works, ultimately understanding the French organ music of the 19th century and making clear which symphonic features that music had.
For this purpose, first of all, the study examined backgrounds behind the French organ music of the 19th century and the Cavaillé–Coll organ which influenced that music. Next, this study reviewed the life of Widor and theoretical backgrounds of his organ music. And then, this study analyzed all movements of No.1 in Widor’s Organ Symphony Op.13 in terms of time, key and form, determining classic and romantic techniques used in that musical piece and the features of the 19th-century French organ music.

The findings of this study can be summarized as follows.

First, the 1st movement of No.1 in the above mentioned organ symphony is Prélude that is a 4-part fugato of four-four time. It also imitates Bach’s counterpoint, according to which the theme starts from the pedal part and then moves to another. Having the key of c minor, the first movement has tones varied through frequent modulation, presenting the effect of symphony.
Second, the 2nd movement is 3-4 in time and allegretto(♩=100) in tempo. It also has the key of A♭major and the form of A - B - A - C - A' - D - D' - E - F - F' - A'' - G. The second movement progresses through chromatic modulation and makes an end with imperfect authentic cadence.
Third, the 3rd movement is Intermezzo that is a variation with some elements of toccata. It is also g minor in key and A – A’-A”-A-coda in form. In addition, that movement has detailed marks of dynamic-tone combination on it, helping a more accurate performance. And the cadence of the third movement is perfect authentic in style.
Fourth, the 4th movement is Adagio that is 9-8 in time and E♭major in key. In that movement, a frequent use of accidentals and chromatic progression is found in terms of harmony and melody. The fourth movement has a ternary form of A – B – A’ and the cadence of imperfect authentic style.
Fifth, the 5th movement is Marche Pontificale that is a march of 2-4 time. Its key is g minor that is subject to chromatic modulation. Structurally, that movement has a form of Rondo, or in more detail, A – B – A – B’- A’. Notably, the double pedal is used to perform the fifth movement whose cadence is imperfect authentic in style.
Sixth, the 6th movement is Méditation that is 6-8 in time and Lento in tempo. It is also e♭minor in key and A – B – A – B’ in form. In that movement, continuant sounds are presented by a chord continuation of keynote(E♭) and dominant(B♭). And the sixth movement has the cadence of imperfect authentic style.
And seventh, the 7th movement is Finale that is a fugato of 4-4 time. It is allegro in tempo and c minor in key. That movement has the keynote(C) as a continuant sound in the pedal part of coda. The cadence of the seventh movement is imperfect authentic in style.

Based on these findings, this study would make the following conclusion.
No.1 of Widor’s Organ Symphony Op.13 has a wide range of musical elements inside, which range from Bach’s to the post-romantic ones. It makes quite meaningful the history of the French organ music in the Age of Romanticism by establishing the most typical features of that organ music of the 19th century.

목차 (Table of Contents)

• Ⅰ. 서론
• 1. 연구 목적 1
• 2. 연구의 내용 및 범위 2
• Ⅱ. 본론 3
• 1. 19세기 프랑스 오르간 음악 3
• 1) 19세기 프랑스 오르간 음악의 배경 3
• 2) Cavaillé–Coll의 오르간 6
• 2. Widor의 생애와 오르간 음악 9
• 1) Widor의 생애 9
• 2) Widor의 오르간 심포니 11
• 3. 오르간 심포니 Op.13 No.1의 분석 14
• 1) 제1악장 Prélude. (Moderato) 15
• 2) 제2악장 (Allegretto) 21
• 3) 제3악장 Intermezzo (Allegro) 24
• 4) 제4악장 Adagio 30
• 5) 제5악장 Marche Pontificale 35
• 6) 제6악장 Méditation (Lento) 40
• 7) 제7악장 Finale. (Allegro) 44
• Ⅲ. 결론 49
• 참고문헌 51
• Abstract 54