슈베르트 후기 피아노 소나타에 나타난 베토벤의 음악적 영향 : B Flat 장조 소나타 D. 960을 중심으로 Beethoven's Musical Influences on Schubert's Last Piano Sonata in B Flat Major, D. 960원문보기
It is well known that Beethoven was greatly respected by Schubert and that Schubert's works (especially his later works) were greatly influenced by Beethoven. Among Schubert's works in the last three piano sonatas which were written during the last months of his life, some parts which are similar to...
It is well known that Beethoven was greatly respected by Schubert and that Schubert's works (especially his later works) were greatly influenced by Beethoven. Among Schubert's works in the last three piano sonatas which were written during the last months of his life, some parts which are similar to those of Beethoven are apparent. The purpose of this paper is to study Beethoven's musical influences on Schubert's last piano sonata in B♭ major, D. 960 which is known to be closest to Beethoven's music among Schubert sonatas. In this study, I focused on comparing Beethoven's works with Schubert's last sonata using the specific musical and structural elements. Before looking into the Beethoven's musical influences appeared in D. 960, I studied Beethoven's musical style that may provide us with a clue to the comparison work of both composers' works. In addition, after investigating Schubert's later sonatas which have different compositional styles from his earlier ones, I analysed D. 960. The results obtained by this study are as follows. Schubert kept on using classical four-movement sonata form like Beethoven did in his earlier works and used many(three) subjects in the part instead of using just two. The most obvious influences from Beethoven can be found in the use of mediant relationship and Neapolitan chord. These are the main characteristics of Beethoven and Schubert as well as of Romantic music. The Neapolitan is now used as a part of the tonality which no longer in need of modulation. Another influence from Beethoven is that the first theme in the finale doesn't show up with the principal key immediately at the beginning to be delayed until the end of phrase like in Beethoven's Eroica. Beethoven's unusual dynamics that show his personality are also found in Schubert's last sonata, both requiring sensitive sound. Beethoven's well known "unification of motive" is also applied in this Schubert's sonata not only between sonata movements but also between the themes. Two sudden, swift changes of tonality, texture, and mood appear in both composers' works to create music more excited. Such contrasting musical elements suggest, to Schubert, contrasting psychological states. This research lastly shows that Schubert's last sonata contain distinct allusions and resemblances to some of his works, mostly earlier piano works as some certain passages in Beethoven's works suggest his other works composed at different times. Despite all this evidence in support of Schubert's borrowing from Beethoven, many musicians think that Schubert's familiarity with Beethoven makes him to be different. Instead of being merely a passive recipient of Beethoven's influence, he attempted, quite successfully, to conceal, transform, and surpass Beethoven's musical models.
It is well known that Beethoven was greatly respected by Schubert and that Schubert's works (especially his later works) were greatly influenced by Beethoven. Among Schubert's works in the last three piano sonatas which were written during the last months of his life, some parts which are similar to those of Beethoven are apparent. The purpose of this paper is to study Beethoven's musical influences on Schubert's last piano sonata in B♭ major, D. 960 which is known to be closest to Beethoven's music among Schubert sonatas. In this study, I focused on comparing Beethoven's works with Schubert's last sonata using the specific musical and structural elements. Before looking into the Beethoven's musical influences appeared in D. 960, I studied Beethoven's musical style that may provide us with a clue to the comparison work of both composers' works. In addition, after investigating Schubert's later sonatas which have different compositional styles from his earlier ones, I analysed D. 960. The results obtained by this study are as follows. Schubert kept on using classical four-movement sonata form like Beethoven did in his earlier works and used many(three) subjects in the part instead of using just two. The most obvious influences from Beethoven can be found in the use of mediant relationship and Neapolitan chord. These are the main characteristics of Beethoven and Schubert as well as of Romantic music. The Neapolitan is now used as a part of the tonality which no longer in need of modulation. Another influence from Beethoven is that the first theme in the finale doesn't show up with the principal key immediately at the beginning to be delayed until the end of phrase like in Beethoven's Eroica. Beethoven's unusual dynamics that show his personality are also found in Schubert's last sonata, both requiring sensitive sound. Beethoven's well known "unification of motive" is also applied in this Schubert's sonata not only between sonata movements but also between the themes. Two sudden, swift changes of tonality, texture, and mood appear in both composers' works to create music more excited. Such contrasting musical elements suggest, to Schubert, contrasting psychological states. This research lastly shows that Schubert's last sonata contain distinct allusions and resemblances to some of his works, mostly earlier piano works as some certain passages in Beethoven's works suggest his other works composed at different times. Despite all this evidence in support of Schubert's borrowing from Beethoven, many musicians think that Schubert's familiarity with Beethoven makes him to be different. Instead of being merely a passive recipient of Beethoven's influence, he attempted, quite successfully, to conceal, transform, and surpass Beethoven's musical models.
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