[벨기에]기욤 르쾨(프랑스어: Guillaume Lekeu

Guillaume Lekeu

기욤 르쾨(프랑스어: Guillaume Lekeu, 1870년 ~ 1894년)는 벨기에의 왈룬인 작곡가이다.[(20 January 1870 – 21 January 1894) was a Belgian composer of classical music.]

21세 때 브뤼셀에서 칸타타 《안드로메다》로 벨기에 로마 대상 제2위를 차지하였다. 파리에서는 같은 나라 사람인 거장 세자르 프랑크와 댕디에게서 음악을 공부하여 장래가 촉망되었다. 하지만, 24세의 나이에 장티푸스로 인해 요절하였다. 작품은 이자이로부터 의뢰를 받아 작곡한 《바이올린 소나타》가 특히 잘 알려져있다. 이밖에 완성된 1악장과 미완성된 2악장 (댕디가 보필하여 완성)으로 구성된 《피아노 4중주곡》, 《첼로 소나타》 등의 실내악곡이 수시로 연주되고 있다.[다음백과]

Life

Lekeu was born in Heusy, a village near Verviers, Belgium.^[1] He originally studied piano and music theory under Alphonse Voss, the director of the brass band at the local conservatory. In 1879, his parents moved to Poitiers, France.^[1] He continued to pursue his music studies independently while at school, composing his first piece at the age of 15.^[1] From 1885 onwards, he regularly composed new music,^[2] especially for piano, and studied harmony and violin from 1887 under Octave Grisard.

In June 1888, his family moved to Paris where he began to study philosophy.^[3] He was introduced to the works of Téodor de Wyzewa and continued his studies under Gaston Vallin. In August 1889, he traveled to Bayreuth to see the operas of Richard Wagner. on his return, he studied counterpoint and fugue privately with Cesar Franck.^[2] Franck encouraged him to continue composing; after Franck's death in the autumn of 1890, Wyzewa introduced him to Vincent d'Indy, who taught him orchestration and encouraged him to compete for the Prix de Rome, awarded in Brussels.^[1] In 1891, he won second prize in the competition for the cantata Andromède.^[2]

In 1892, d'Indy introduced Lekeu to Octave Maus, then secretary of Brussels-based Le Cercle des XX.^[2] Eugène Ysaÿe commissioned a work from him,^[1] the Violin Sonata in G major, which premiered in March 1893, and which is highly regarded.^{[citation needed]}

Lekeu contracted typhoid fever from a contaminated sorbet in October 1893.^[4] He died in his parents' home in Angers on 21 January 1894, the day after his 24th birthday. on 26 January 1894, he was buried in a small cemetery in Heusy.^[3]

Musical style and influences

Lekeu's personal style was present in his earliest compositions. In 1887, he said "Bien plus, ce sera bizarre, détraqué, horrible, tout ce qu'on voudra; mais, du moins, ce sera original"^[4] ("Even more, it will be weird, mad, horrible, anything you like, but at least it will be original").

Lekeu's string quartets were inspired by Beethoven, and exposure to Wagner's operas at Bayreuth influenced his approaches to melody. He described this as "des mélodies de telle longeur qu'un seul exposé suffisait à parfaire ... un morceau de musique"^[4] ("melodies of such length that a single presentation was sufficient to complete ... a piece of music").

His primary influence was Franck. Many of his works are characterized by a certain melancholy: in his own words, "la joie [est] mille fois plus difficile à peindre que la souffrance"^[4] ("joy is a thousand times harder to paint than suffering").

Compositions

Lekeu composed about 50 works, and left a number of unfinished compositions at the time of his death. Two of these, a Cello Sonata and his Piano Quartet, were completed by D'Indy.^[5] All have been recorded at least once, and several of them more than once, notably the Violin Sonata in G Major and the Piano Trio in C minor. The first time Piano Sonata in G minor had been completely performed on live by pianist Paweł Albiński in Cracow on 20 August 2014.^[6]

His style, prophetic of early-twentieth-century avant-garde French composers like Satie and Milhaud, was influenced by Franck, Wagner and (especially in the Trio) Beethoven, though these influences did not manifest themselves as mere imitation. In general, Lekeu is regarded as a highly talented composer whose death cut short a promising musical career.

Musical structures

His larger compositions are cyclic in structure; that is, themes in his works will often recur from movement to movement, something no doubt inherited from a long tradition of nineteenth-century European composers, as well as from many works of Franck and d'Indy. The recurring themes in the violin sonata have led some scholars to suggest that it was an inspiration for the Vinteuil Sonata, an imaginary work described by Marcel Proust in In Search of Lost Time. However, the structure imagined by Proust is also similar to the violin sonata by Franck