볼프의 「이탈리아 가곡집」에 여성적 성격의 분류에 따른 연구

Abstract

A Study according to the classification of female characters in Wolf's「ItalienischesLiederbuch」 In 19thcentury German literary field, imaginary and unrealistic Romanticism began to receive criticism for leaning towards its fictional nature and losing its essence; therefore as a supplement Realism appeared while after the mid-19thcentury, writers who were not much involved in day to day life started challenging Realism with idealistic views. These people were called the ‘Munich Cosmic Circle’and Paul Heyse(1830-1914) was one of the representative writers. Heyse actively created works in diverse genres such as poetry, drama, novels, short stories and etc.,at the same time working as a translator translating Italian literature to German, and in 1910 he was the first German writer to have received the Nobel Prize for Literature. During the same period, representative German lied composer, Hugo Wolf (1860-1903) accomplished the peak of lied following Franz Peter Schubert(1797-1828), Robert Schumann(1810-1856), Johannes Brahms (1833-1897). Throughout his life Wolf left around 250 songs, and 「Italienisches Liederbuch(1890)」,which was set to an anonymous old love poem translated to German by Heyse in 1860, can be seen as the integrated work of all Wolf’s composing dispositions. The forty six songs included in「Italienisches Liederbuch」 consist six to eight lines of short poems and although they are divided into two books, the structure and musical style and etc. show unity. This paper looked into the literary trend and the ‘Munich Cosmic Circle’ of 19th century when Heyse was working, the life and major works of Heyse, the general flow of 19thcentury German lied and the inclination of Wolf’s lied. In addition, analyzed the typicalwomen characters that appear as the submissive woman, cheerful and exaggerated woman, arrogant and angry woman in the summary of ten songs excerpted from「Italienisches Liederbuch」.As a result, these songs seem very free, like recital songs however, the transition, repetition and development of the rhythmis systematic, and although short it balances the song in unity, while there is diverse musical variation with the change of length in note according to the nuance of lyrics, change of pitch and more. Thus, through all the musical methods of lied Wolf accomplished a complete combination between the song and poem and completed the structure of German lied in a more advanced form than any other composers before him.