RISS 검색 - 국내학술지논문 상세보기

다국어 초록 (Multilingual Abstract)

From Rome, Pietro Metastasio sent his oratorio libretto La Passione di Gesu｀ Cristo Signor Nostro to Vienna for Emperor Karl VI of the Holy Roman Empire before his arrival as a Caesarean poet. Since its first performance during the Lent of 1730 with Vizekapellmeister Antonio Caldara's music, this libretto had been composed by many prominent composers of Catholic Europe during the second half of the eighteenth century. Unlike Bach's Passions, however, Metastasio's oratorios are not widely known to us. Such an unbalance is a product of the instrumentally-oriented German musical thought which has been prospered since the beginning of the nineteenth century. This study is an attempt to rectify such a distortion through careful examination of the reality of the Catholic oratorio tradition during the eighteenth century.
First of all, the libretto itself is examined. Following the established pattern of the period, this oratorio consists of two parts. The first part contains eight scenes while the second has seven. Each part concludes with a final chorus as tradition dictates. The initial recitative of each part, however, shows extreme contrast: the first one is a despairing soliloquy of Peter; the other is a conglomeration of all four protagonists together. The cause of such a difference can be inferred from the fact that the first one is expected to be anteceded by a sinfonia or an instrumental introduction. There is a duet, the only ensemble number, just before the final chorus of the first part.
After examining the libretto, there follows brief vitae of the composers who set the music to this libretto after Caldara. These composers's works have been published and recorded except Lucchesi whose work is not published but recorded. The music of these composers will be dealt with in a subsequent paper. It is expected that the examination of the stylistic transmutation from Caldara's typical late baroque setting to Paisiello's fully classical setting reveals the process of establishing the characteristic features of the classical style itself.

번역하기

목차 (Table of Contents)

I. 들어가는 말
II. 메타스타지오의 대본
1. 제 1부
2. 제 2부
3. 전체적 고찰

I. 들어가는 말
II. 메타스타지오의 대본
1. 제 1부
2. 제 2부
3. 전체적 고찰
III. 칼다라 이후 「우리 주 예수 그리스도의 수난」작곡가들
1. 욤멜리(1749)
2. 나우만(1767)
3. 미슬리베첵(1773)
4. 살리에리(1776)
5. 파이지엘로(1783)
6. 루케지(1776)
IV. 매듭짓는 말
참고문헌
Abstract

참고문헌 (Reference)

1 이남재, "합스부르크 왕가와 음악 Ⅱ: 요제프 2세와 레오폴트 2세 치하의 음악" 문화사학회 (18) : 197-226, 2009

2 이남재, "비엔나 세폴크로 전통과 18세기 전반의 수난곡" 민족음악학회 (38) : 49-76, 2009

3 이남재, "멘델스존의 청소년기: ≪현악 교향곡≫작곡에서 ≪마태 수난곡≫ 지휘까지" 한국서양음악학회 13 (13): 85-109, 2010

4 Parodi, Elena Biggi, "Un sostituto all'opera: L'oratorio La passione di Gesù Cristo di Antonio Salieri, Vienna 1776. Il teatro musicale italiano nel Sacro Romano Impero nei secoli XVII e XVIII: Atti del VII Convegno internationale sulla musica italiana nei secoli XVII-XVIII"

5 Monelle,Raymond, "The Rehabilitation of Metastasio" 57 (57): 268-291, 1976

6 Smither, Howard E, "The Oratorio in the Baroque Era:Italy,Vienna,Paris" The University of North Carolina Press 1977

7 Stendhal, "The Lives of Haydn and Mozart with Observations on Metastasio and on the Present State of Music in France and Germany, reprint of London: John Murray, 1818 edition" Elibron Classics 2005

8 Wilson,Peter H, "The Holy Roman Empire 1495-1806" Macmillan 1999

9 Fellerer, Karl Gustav, "The History of Catholic Church Music" Greenwood Press 1961

10 Macartney, C. A, "The Habsburg and Hohenzollern Dynasties in the Seventeenth and Eighteenth Centuries" Macmillan 1970