R. Schumann의 Davidsbündlertänze Op.6에 관한 연구

Abstract

Robert Schumann(1810-1856) is recognized as one of the greatest and most representative composers of the Romantic era. The main aim of this study is to represent the way in which Schumann established his unique style and idea of the Romantic music. To achieve this goal, this study is centered on Robert Schumann's Davidsbündlertänze, Op.6. and examines Schumann's ideology and technique of Romantic music. In general, Romanticism puts more accent on the subjective expression and unique form. Schumann had a great command of original music technique arising from the inspiration by literature, building his own music world, especially focused on piano pieces for acoustic nature of piano and character piece among others. The distinction of Schumann’s character piece is that he made simple and small-sized props into the larger suite-styled ones and his German direction in the pieces, which became Schumann’s unique way. Davidsbündlertänze, published in 1837 despite the low opus number, is one of Schumann's most characteristic works. It begins with the 'motto of C.W.' (Clara Wieck) derived from Sosoirées Musicales, No.6 by Clara Wieck. In order to embody the personalized Florestan and Eusebius who were the imaginary figures appearing in his critical writings, Schumann named sections for Eusebius and Florestan and signed the more passionate numbers F. (Florestan) and the more sensitive E. (Eusebius). This work denotes the close association between music and literature. The technique employed in this music can be evaluated as model of romanticism. Understanding the idioms and idea of romanticism trend, ideas of musicians and external influences out of music to them is prerequisite for deep and mature performance.