R. 슈트라우스 가곡의 피아노 반주와 관현악 편곡 반주의 비교분석

Abstract

This study provides comparative analysis between the piano accompaniments and orchestra accompaniments of Richard Strauss’ (1864-1949) compositions, namely Op. 36 No. 1〈Das Rosenband〉, Op. 39 No. 4〈Befreit〉and Op. 27 No. 1〈Ruhe meine Seele〉. Prior to the analysis, this paper describes the composer’s life story and analyzes his compositions by dividing them into two groups according to his composing style: the ones composed between 1882 and 1906, before he composed 《Salome》 and the others that had made from 1918, when he resumed his composition after a 12-year hiatus, until his last work. The piano accompaniments of the forementioned three songs were composed before 《Salome》 while the two songs, except 〈Das Rosenband〉 were arranged for an orchestra after the year 1918. In the analysis, the piano accompaniments and the orchestra accompaniments are compared by analyzing the lyrics, forms, melodies, rhythms, and relations between the poems and the music. Strauss reflected the forms, rhymes, and concepts of the poems in his songs and used various musical instruments with different tones to express the unique stories and images of the poems. All in all, the ultimate goal of this study is to provide better understanding of the tones of the orchestra accompaniments and to present a new perspective in interpreting the piano accompaniments for richer expression of the songs, involving various types of piano touch, dynamic interpretation, pedaling, etc.