베토벤의 <피아노와 바이올린을 위한 소나타 F장조 Op.24> 분석 연구

Abstract

This paper analyzes the relation of the piano and violin, and the musical features seen in Ludwig van Beethoven’s (1770-1827) <Sonata for Piano and Violin in F major Op.24>. In late 18th century Europe during Beethoven’s time, influence of the French Revolution and the Enlightenment spread citizen class and developed capitalism, affecting the start of popular concerts, salon music and other music culture. Amidst these changes Beethoven worked as an independent musician creating new and mature music within the traditional Classic form, composing original pieces. Beethoven composed a total of ten violin sonatas during the early and middle period of his work time. His early violin sonata, Op.12 was written as a piano centered ‘piano sonata with violin obbligato’ however at reaching Op.24 the violin starts the main melody while the two instruments start to make a fair balance. Op.30 written at the turn of Beethoven’s early to middle works put considerable weight on the violin. In Op.47 a concerto style sonata is attempted and the two instruments make a perfect balance. Violin Sonata Op.24 composed in 1801, is the first of Beethoven’s violin sonatas that has four movements including a scherzo, with a lyrical melody and warm atmosphere giving it the alias “Spring”. The first movement in which the violin presents the main melody shows Beethoven’s musical expressions such as progression of the small motive, frequent use of majors and minors in the same major key and drastic contrast of the motif. The main melody of the first movement is modified in the second movement and the small motive of the first movement plays an important role in the main melody and coda of the second movement. In the third movement, the chord progression of the first movement is decreased and there is a contrast between the scherzo and the trio. The fourth movement has three subjects as it takes the rondo form. The main melody is presented with a new rhythm having a total of four refrains repeated and modified while the small motive of the first movement is repeated in conjunct motion with the main melody of the fourth movement. As the above, the small motives that make this piece stand out are seen in all the movements except the third movement and grants unity of the entire song.