루드비히 반 베토벤의

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1 (H. v. Blow ) (L. v. Beethoven ) -(33 Vernderungen ber einen Walzer von Anton Diabelli, op.120, ) (Mikrokosmos des Beethovenschen Geistes), (ein Kompendium der ganzen Musikgeschichte). 1 (Martin Zenck) op.120,, (Geschichte) op.120 (Ausdruck von Geschichte) -. 1 ) H.v.Blow, Beethoven fr Piano solo von op.53 an in kritischer und instruktiver Ausgabe mit erl uternden Anmerkungen(Stuttgart/Berlin, 1902). ) M.Zenck, Rezeption von Geschichte in Beethovens Diabelli-Variationen," AfMw 37(1980), pp

120,, (Geschichte) op.120 (Ausdruck von Geschichte) -. 1 ) H.v.Blow, Beethoven fr Piano solo von op.

2 23 (Reflexionsprinzip) op.120,. op (Anton Diabelli ) , 8 ( 1).. ( 1-8),. 1 ) C.Dahlhaus, Beethovens Sp tstil," Die Musik des 19. Jahrhunderts(Laaber: Laaber-Verlag, 1989), p.70l. ) W.Pass, Zeitgeist und Individualittsstreben bei Schnberg," Bericht ber den 1. Kongress der Internationalen Schnberg-Gesellschaft in Wien(Wien: Verlag Elisabeth Lafite, 1978), pp ) a- op. 132,. ) op.120, ( )., (Vaterlndischer Knstlerverein 1.Abteilung), ) : T=tonic, D=dominant, S=subdominant,

Pass, Zeitgeist und Individualittsstreben bei Schnberg," Bericht ber den 1.

3 - ( 9-16) , (D)-Tp ( ) 2( 17-32), ( ). 2 1, ( )., (: op.109op.111 ) (Neutralitt) 1 (eine grosse erweiterte Kadenz) 1 ;, - (M1), 4- (M2), (Sequenz)- (M3) - 2- (M3'). ( 1) Op.120, - Tp=submediant, (D)=secondary dominant. ) ( : 1). ) J.Mller-Blattau, Beethoven und die Variation," Neues Beethoven-Jahrbuch 5(1933), p.127.

111 ) (Neutralitt) 1 (eine grosse erweiterte Kadenz) 1 ;, - (M1), 4- (M2), 9-1225-28 2-3

4 23 ( 1). a) C- c- (9,29,30,31) E- (32). b) 3/43/2(6/4)3/89/8

5 -, 4/42/4. (C3/4)21, c) (Auftakt) ,. d) 32(16+16) (10) (14,16,17,23,30), 31( 4,11,25) 33(24) ( ), 22( ), 29( ), 31( )33( [coda:9+8+8])1:2 1: e) (Walter Riezler ) 1., ( ) (5,9,15,20,22,25,30,31,32). f). 1, 2 (11,12,22,29). g). 4(2+2), : 11(3+3), 24(2+3), 30(1+2)33 (2+2+[Coda: 3]).

21(4+8+4+8), 22(4+4+4+6), 29(2+4+2+4), 31(2+4+2+3)33(4+8+4+8+[coda:9+8+8])1:2 1:4 8 4.

6 23 h),. (Arnold Mnster) :,. 1, :. i) 1 2. Op.120. k),.. 1. ; 2 1. < > < >.. ) W.Riezler, Beethoven(Zrich, 1962), p.230. ) A.Mnster, Studien zu Beethovens Diabelli-Variationen(Mnchen, G.Henle Verlag, 1982), p.60. ) A.Mnster, Studien zu Beethovens Diabelli-Variationen, pp.49, 176. ).

7 -., ;, ( ) ( ). op.120( ).,. ( 1) Op.120, : a) b) c)( :, :) d)e) ( :, :, : ) f) g)h) ( :, :) i) k) a) b) c) d) e) f) g) h) i) k) Th Vivace C-Dur 3/ ; ; 2+2 ; p; f ' Alla Marcia 1 maestoso C-Dur C ; ; 2+2 ; p; f 1 2 3' 2 Poco allegro C-Dur 3/ ; ; 2+2 ; p; p 3 3' 3 L'istesso tempo C-Dur 3/ ; ; 2+2 ; p; p 3 3' Un poco pi 4 vivace C-Dur 3/ ; ; 2+2 ; f; f 3 3' 5 Allegro vivace C-Dur 3/ ; ; 2+2 ; p; p 1 2 Allegro ma non 6 troppo e serioso C-Dur 3/ ;; 2+2 ; p; p 1 2 3

p; f 1 2 3 3' Alla Marcia 1 maestoso C-Dur C 16+16 ; ; 2+2 ; p; f 1 2 3' 2 Poco allegro C-Dur 3/4 16+16 ; ; 2+2 ; p; p 3 3' 3

8 23 7 Un poco pi allegro C-Dur 3/ ; ; 2+2 ; f; f 2 3 3' 8 Poco vivace C-Dur 3/ ;; 2+2 ; p; p 3 9 Allegro pesante e risoluto c-moll C ; ; 2+2 ; f; ff 1 10 Presto C-Dur 3/ ; ; 2+2 f; ff ' 1] 11 Allegretto C-Dur 3/ ;; 3+3 ; p; p 1 33' 12 Un poco pimoto C-Dur 3/ ; ; 2+2 ; p; p Vivace C-Dur 3/ ;; 2+2 ; f; ff 1 14 Grave e maestoso C-Dur C 8+8 ;; 2+2 ; p; f 1 3 3' 15 Presto scherzando C-Dur 2/ ;; 2+2 ; p; (p) ' 16 Allegro C-Dur C 8+8 ;; 2+2 ; f; f ' 17 C-Dur C 8+8 ;; 2+2 ; f; f 2 3 3' 18 Poco moderato C-Dur 3/ ; ; 2+2 ; p; p Presto C-Dur 3/ ;; 2+2 ; (pp; f Andante C-Dur 3/2-6/ ;; 2+2 ;pp; pp 2 3 3' 21 Allegro con brio; Meno allegro C-Dur C; 3/ ; ; 2+2 ; (p); p ' 22 Allegro molto C-Dur C 8+10 ;; 2+2 ; f; p Allegro assai C-Dur C 8+8 ;; 2+2 ; (f); f Fughetta : Andante C-Dur 3/ ; ; 2+3 ; p; (p) ' 25 Allegro C-Dur 3/ ;; 2+2 ; p; f C-Dur 3/ ;; 2+2 ; p; p ' 27 Vivace C-Dur 3/ ;; 2+2 ; p; p Allegro C-Dur 2/ ;; 2+2 ; f; p 3' 29 Adagio ma non troppo 30 Andante, sempre cantabile 31 Largo, molto espressivo c-moll 3/4 6+6 ; ; 2+2 ;(p); p 1 3 c-moll C 8+8 ; ; 1+2 ;2] p; pp c-moll 9/8 6+5 ; ; 2+2 ; pp; pp ' 32 Fuga: Allegro Es-Dur C 166 ;; 2+2 ;ff; pp ' 33 Tempo di Menuett moderato C-Dur 3/ (+2 5Coda) ; ; 2+2(+3 ;3] Coda) p; p (; f) ' 1] 2. 2].

;; 2+2 ; p; f 1 3 3' 15 Presto scherzando C-Dur 2/4 16+16 ;; 2+2 ; p; (p) 1 2 3 3' 16 Allegro C-Dur C 8+8 ;; 2+2 ; f; f 1 2 3 3' 17 C-Dur C 8+8 ;; 2+2 ; f; f 2 3 3' 18 Poco moderato C-Dur 3/4 16+16 ;

9 - 3].. op.120 ( 1,2): 1. 1( -10),. 9, (1,6,9 ).,., 1 ( 2):, ( 4 )., 1 ( ) op.126( ) 1 ) C.Dahlhaus, Zur Rhythmik in Beethovens Diabelli-Variationen," Neue Wege der musikalischen Analyse(Berlin, 1967), p.20. ) Op (1 11), 1823 (, )op W.Kindermann, Beethoven's Diabelli Variations(Oxford: Clarendon Press, 1987), pp.30,34; M.Zenck, Rezeption von Geschichte in Beethovens Diabelli-Variationen'. AfMw 37(1980),

1967), p.20. ) Op.1201 1819 (1 11), 1823 (, )op.126 - W.

10 , ( 2) Op.120, [] (Thema) -, C- Var. 1 - Var. 2 filigree work"(durchbrochene Arbeit) - Var. 3 - Var. 4 Var. 3, Var. 5 Var. 6 Var. 7 Var. 8, Var. 7 Var. 9 -,, Var. 5 (Var. 10), [] Var Var Var. 13 Var (Var. 15) 2/4. 8-4, (Var. 16 Var. 17) - Var. 16. Var. 18 Var. 12, Var. 19 Var. 11 Var. 20 2, Var. 15 pp

7 Var. 8, Var. 7 Var. 9 -,, Var. 5 (Var. 10), [] Var. 11 - Var. 12 3 6 Var. 13 Var.

11 - [] (Var. 21) - WoO Var i,, Var (Var. 24). - (: 2, B- ) (Var. 25 3/8. - Var. 26) Var. 25 3/8, 16- Var. 27 Var. 25 3/8, 16- Var. 28 [] Var /4 ( ) Var. 30 4/4 (Var. 31) Var. 29, 9/8-25, (Var. 32) E-., (Var. 33) ( 2) Op.120, - Var.1 -, 1 -, Var.1, 1

25 3/8, 16- Var. 28 [] Var. 29 -. 3/4 ( ) Var. 30 4/4 (Var. 31) Var.

12 23 Var.1, AA'II(11-20) 5, ( 2).. II 1516, ( 1); 15 2/4 8-4, ( 3). II, II. ( 3) Op.120, Var.15-17

13 -

14 23 3. (Jrgen Uhde), III(21-28). 24., (Paraphrasierungsverfahren) D- (WoO 65, 1790/1802)14 ) J.Uhde, Beethovens Klaviermusik I, Klavierstcke und Variationen(Stuttgart: Reclam, 1980), pp

15 -, 23 ; 22 (45, ), ( ), ( ). ( 4) 1, op.120, Var.22

16 23 -, 2 B- (BWV 890) 24 ( 5), 24. 3/ /4 28 ( 8 - ). III, (24) (21, 25-26) ( 1) (16-17 ) 26. ( 5) Op.120, Var.24 BWV 890 ) -, op.120 < >2. 2 B- 7 4 (c-d: c-g, g-d) 3 f-d < > - M.Zenck, Rezeption von Geschichte in Beethovens Diabelli-Variationen'," AfMw 37(1980), pp

17 - Op.120, Var.24 BWV IIIV(29-33)I,III.. IV, op.110(1821)3 ( 6). Op.110 3, ( )op.120 (21-28) 429 (Klagelied) (31 ) ( ). 31 op.110 3

18 23, 1 E E , 1. 32, (Fugierung),. Op.110 op ( e- ) 33. ( 6) Op.120, Var ), op < >, op )

19 -

20 23 33 C-. C ( 7). 32, ( ) 1 op.111(1822).,. 33 op.120 4, (f-moll Hob.XVII:6, 1793). f- ( )2 f- F- ; ) ( : J.Uhde, Beethovens Klaviermusik I, p.547). ).

21 -, f- ( ). f-, op ( 7) Op.120, Var.33.

22 23,. -, -. op.120,. : - - (1902) (1980) - ; - (1982) - op.120. (), ,, 1 (1923 )., < >< >,. ), 22 ( 4 ).

23 - : -Op.120,, -Op.120 Blow, Hans von. Beethoven fr Piano solo von op. 53 an in kritischer und instruktiver Ausgabe miterluternden Anmerkungen. Stuttgart/Berlin, Dahlhaus, Carl.Zur Rhythmik in Beethovens Diabelli-Variationen." Neue Wege der musikalischen Analyse(Berlin, 1967), pp beethovens Sptstil." Die Musik des 19. Jahrhunderts(Laaber: Laaber, 1989), pp Fischer, Kurt von. Die Beziehungen von Form und Motiv in Beethovens Instrumental-werken. Baden-Baden: Valentin-Koerner, Geiringer, Karl.The structure of Beethoven's Diabelli Variations." Musical Quarterly 50(1964), pp Halm, August. Beethoven. Darmstadt, Kastner, Emerich. Ludwig van Beethovens smtliche Briefe, Vllig umgearbeitete und wesentlich vermehrte Neuausgabe von Julius Kapp. Tutzing, Kindermann, Wiliam. Beethoven's Diabelli Variations. Oxford: Clarendon Press, Koch, Gerhard R..Kritische Dokumentation: Diabelli-Variationen." Musica 24(1970), pp Kross, Siegfried.Eine problematische Stelle in Beethovens Diabelli-Variationen." Die Musikforschung 16(1963), pp nochmals zu Beethovens Diabelli-Variationen." Die Musikforschung 18(1965), pp Beethoven, Mensch seiner Zeit. Bonn, Misch, Ludwig. Wiedergeburt aus dem Geiste der Sonate. Fuge und Fugato in Beethovens Variationsform." Neue Zeitschrift fr Musik 119(1958), pp Mller-Blattau, Joseph. Beethoven und die Variation." Neues Beethoven-Jahrbuch 5(1933), pp die Diabelli-Variationen als Sammlung und als Zyklus." Von der Vielfalt der Musik. Freiburg, Mnster, Arnold. Studien zu Beethovens Diabelli-Variationen. Mnchen: Henle-Verlag, Pass, Walter.Zeitgeist und Individualittsstreben bei Schnberg." Bericht ber den 1.Kongress der Internationalen Schnberg-Gesellschaft in Wien(Wien: Verlag Elisabeth Lafite, 1978), pp Porter, David H..The Structure of Beethoven's Diabelli Variations, op. 120." The Music Review 31(1970), pp Riezler, Walter. Beethoven. Zrich, Schaeffer, Erwin.Die Diabelli-Variationen von Beethoven." Schweizerische Musikzeitung 107(1967), pp Schmidt-Grg, Joseph. Beethoven. Ein Skizzenbuch zu den Diabelli-Variationen und zur Missa Solemnis(SV 154). 2 Tle., Bonn, 1968/72. Uhde, Jrgen.Reflexionen zu Beethovens op. 120." Zeitschrift fr Musiktheorie 7(1976), pp Beethovens Klaviermusik I. Klavierstcke und Variationen. Stuttgart: Philipp Reclam, 1980, pp Beethovens Klaviermusik III. Sonaten Stuttgart: Philipp Reclam, 1986, pp Yeomans, William.Problems of Beethoven's Diabelli' Variations." Monthly Musical Record 89(1959), pp Zenck, Martin.Rezeption von Geschichte in BeethovensDiabelli-Variationen'." Archiv fr Musikwissenschaft 37(1980), pp

24 23

25 - The Problem on the Conception of the Form in Beethoven's Diabelli-Variations Ko, Eun-Mi Though variation may mean the fundamental processing method of music, the musical piece composed of a series of variation for piano has been regarded as the one of relatively small work. Beethoven's Diabelli-Variations op. 120 extremely breaks this precedent. Therefore, this follows in the wake of the unique example of Bach's Goldberg-variations always compared with this due to its magnitude and enormous profundity. First of all, the 'variation technique' used in Diabelli-variations can be explained as the reflection of a music-history study shown in each of Beethoven's variations along with Beethoven's pursuit for new musical expression - in connection with the content of the study on Martin Zenck(1980) since the early period of Han von Buelow(1902). In the second respect of 'form' - this study arrived at the unique understanding and conclusion that op. 120 as a variation cycle newly find expression in the fusion with sonata form by further developing the formal classification method of all the musical works through the motif domain only limited and applied in the study conducted by Arnold Muenster(1982). This exhibits a special case in the history of musical genres and reconfirms the ambiguity of the form mentioned as the already known characteristics of Beethoven's latter music. The nature of this special historical genre also is determined by the already mentioned element of 'Reflexion'. This element of Reflexion' that has come to play a significantly crucial role in almost all latter works of Beethoven since around 1815 has the remarkable meaning in Arnold Schoenberg's latter style(from 1923) on the one hand. It would no longer be problematic up to make any attempt to relate to Schoenberg's corresponding motifs Beethoven's composition technique that ranges from the variation technique or the diversity of large movement composition and the 'division of thematic materials' and the sub-thematic structure of the musical piece to the process for his several motifs to

26 23 suddenly appear, be divided and processed.

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$가사교향곡$주대창$$ 1-9 - 4 : 9 I (LvBeethoven 1770-1827) 9 4, 1 20 9 1 ) (RWagner 1813-1883)(Das Kunstwerk der Zukunft, 1849) RWagner, Das Kunstwerk der Zukunft, in: Smtliche Schriften und Dichtungen, Leipzig 1911, Bd 3,