바르카롤 [barcarole]

바르카롤 [barcarole]                        

[요약]

원래 6/8박자나 12/8박자의 부드럽게 흔드는 리듬을 특징으로 하는 베네치아 곤돌라 사공의 노래.
(이탈리아어로 '뱃사공' 또는 '곤돌라 사공'이라는 뜻의 barcarola에서 유래) barcarolle이라고도 씀.

목차

펼치기

18, 19세기에 와서 오페라 아리아에서 피아노 소품에 이르는 수많은 성악음악과 기악음악에 영향을 주었다. 1710년 프랑스 작곡가 앙드레 캉프라의 무대 음악 〈베네치아인의 축제 Les Fêtes vénitiennes〉(1710)에 삽입된 곡 〈뱃사공들의 축제 Fête des barquerolles〉에 이 용어가 처음 나타났다.

그후 조반니 파이지엘로, 카를 마리아 폰 베버, 다니엘 프랑수아 에스프리 오베르, 조아키노 로시니, 주세페 베르디, 요한 슈트라우스를 비롯한 많은 작곡가들의 오페라에 바르카롤이 등장했다. 오페라에 등장하는 바르카롤 중 자크 오펜바흐의 〈호프만의 이야기 Tales of Hoffmann〉에

나오는 것이 가장 유명하다.

멘델스존으로부터 리스트와 가브리엘 포레에 이르는 19세기의 많은 작곡가들이 유사한 작품들을 많이 남겼지만 19세기에 작곡된 가장 유명한 바르카롤은 "쇼팽의 바르카롤 작품 60"일 것이다.

프란츠 슈베르트(성악과 피아노), 요하네스 브람스(여성 합창), 윌리엄 스턴데일 베넷(피아노와 관현악)이 다양한 악기들을 위한 바르카롤을 작곡했다.[다음백과]  

    

A barcarolle (from French, also barcarole; originally, Italian barcarola or barcaruola, from barca 'boat')^[1] is a traditional folk song sung by Venetian gondoliers, or a piece of music composed in that style. In classical music, two of the most famous barcarolles are Jacques Offenbach's "Belle nuit, ô nuit d'amour", from his opera The Tales of Hoffmann; and Frédéric Chopin's Barcarolle in F-sharp major for solo piano.

Description

A barcarolle is characterized by a rhythm reminiscent of the gondolier's stroke, almost invariably in 6/8 meter at a moderate tempo.^[2]

While the most-famous barcarolles are from the Romantic period, the genre was known well enough in the 18th century for Burney to mention, in The Present State of Music in France and Italy (1771), that it was a celebrated form cherished by "collectors of good taste".^[3]

Notable examples

The barcarolle was a popular form in opera, where the apparently artless sentimental style of the folklike song could be put to good use. In addition to the Offenbach example: Paisiello, Weber, and Rossini wrote arias that were barcarolles; Donizetti set the Venetian scene at the opening of Marino Faliero (1835) with a barcarolle for a gondolier and chorus; and Verdi included a barcarolle in Un ballo in maschera (i.e., Richard's atmospheric "Di’ tu se fidele il flutto m’aspetta" in Act I).^[3] The traditional Neapolitan barcarolle "Santa Lucia" was published in 1849.

Arthur Sullivan set the entry of Sir Joseph Porter's barge (also bearing his sisters, cousins and aunts) in H.M.S. Pinafore to a barcarolle, as well as the Trio "My well-loved lord and guardian dear" among Phyllis, Earl Tolloller and the Earl of Mountararat in Act I of Iolanthe. Schubert, while not using the name specifically, used a style reminiscent of the barcarolle in some of his most-famous songs, including especially his haunting "Auf dem Wasser zu singen" ("To be sung on the water"), D.774.^[3]

Other notable barcarolles include: the three "Venetian Gondola Songs" from Mendelssohn's Songs Without Words, Opp. 19, 30 and 62; the "June" barcarolle from Tchaikovsky's The Seasons; Charles-Valentin Alkan's "Barcarolle" from the Op. 65 Troisième recueil de chants; Béla Bartók's "Barcarolla" from Out of Doors; Barcarolle, Op. 27, no. 1, by Moritz Moszkowski, and several examples by Anton Rubinstein, Mily Balakirev, Alexander Glazunov, Edward MacDowell, Mel Bonis, Ethelbert Nevin; and a series of thirteen for solo piano by Gabriel Fauré.^[3]

In the 20th century, further examples include: Agustín Barrios's Julia Florida; the second movement of Villa-Lobos's Trio No. 2 (1915) (which contains a Berceuse-Barcarolla); the first movement of Francis Poulenc's Napoli suite for solo piano (1925); George Gershwin's Dance of the Waves (1937, unpublished); Ned Rorem's three Barcarolles for piano, composed in Morocco (1949); the first movement of Nikolai Myaskovsky's Piano Sonata no. 8, op. 83 (1949); "The Kings' Barcarolle" from Leonard Bernstein's Candide (1956); and "Agony" from Stephen Sondheim's Into the Woods.