하이든에게 헌정된 모차르트와 플레옐의 현악4중주 : 헌정의 배경과 음악양식 The Strategy of dedication and Musical Style = "Haydn" Quartets of Mozart and Pleyel(dedicated to Haydn)

다국어 초록 (Multilingual Abstract)

Ignaz Pleyel's six string quartets, op. 2, were dedicated to his teacher Haydn in 1784, followed by Mozart's dedication of his six quartets(K. 387, 421, 428, 458, 464, 465) to Haydn later in the same year. Many composers in Vienna during the last two decades of the 18th century, following Pleyel and Mozart's example, dedicated their string quartets to Haydn.
The musical style of “Haydn”quartets of Mozart and Pleyel reveals a new insight to the history of their reception. The three-movement format, with the sequence of Fast-Slow-Fast, predominates in Pleyel's quartets. Mozart always wrote four-movement quartets placed minuet either in the second or in the third movement. The minuet is not a regular element within each cycle of Pleyel's “Haydn”quartets. Both composers employed the sonata form in the first movement. Various formal structures such as ternary form, rondo, theme and variations appear in the middle and final movements of “Haydn”quartets of both.
In Pleyel's quartets, homophony, with the first violin melody over accompaniment of the lower three voices, predominates and the first violin often features a solo concerto-like effect. Several Pleyel string quartets are distinct for their concertante style in which the four parts alternatingly create the main line of the melody in turn. The bass line in Pleyel's quartets mainly plays a role of accompaniment, featuring harmonic bass or pedal point. In contrast, polyphonic texture and imitative counterpoint pervade in Mozart's “Haydn”quartets. The bass line plays intensive motivic imitation with upper voices and all the four voices equally participates in Mozart's quartets.
According to the number of publication in Vienna as well as other regions of Europe in the 1780s and 1790s, Pleyel's quartets were far greater demand, but they have almost been forgotten and hardly been performed for the last two centuries. The immediate reception of Mozart's “Haydn”quartets were poor but they have proved the continued popularity and stimulated numerous musicological research in relation with Haydn's string quartets from the beginning of the 19th century. The immediate poor reception of Mozart's quartets perhaps lies in ‘Mozart's profound knowledge of composition, prolonged intensity, and juxtaposition of strict and galant style, which had caused concern among the contemporaries.
Mozart followed Pleyel's example by dedicating his works to Haydn, yet he did not imitate Pleyel's quartets. Instead he decided to write the quartets in a completely different style in terms of the organization of cycle, motivic unity and contrapuntal texture. Inclusion, Pleyel's quartets, identified with amiable, light, and popular style, appealed for amateur public and performers. Mozart hoped that his quartets were equally regarded with Haydn's, as the music for connoisseur, demanding the more refined taste and intellectual content.

목차 (Table of Contents)

• 들어가면서
• Ⅰ. 모차르트의 헌정 서한과 의미
• Ⅱ. 모차르트와 플레옐의 “하이든”현악4중주: 출판과 수용의 역사
• Ⅲ. 모차르트와 플레옐의 “하이든”현악4중주: 음악양식의 비교
• 1. 싸이클의 구조와 형식
• 2. 소나타형식의 구조와 특징
• 3. 미뉴에트 악장의 위치와 양식
• 4. 변주형식 및 론도
• 5. 텍스츄어의 구조와 특징
• 6. 싸이클의 독특한 형식 및 조성 구조
• 맺으면서
• ABSTRACT