Giovanni Benedetto Platti의 건반악기 소나타에 관한 小考 = On the Keyboard Sonatas of Giovanni Benedetto Platti

다국어 초록 (Multilingual Abstract)

Giovanni Benedetto Platti was presumably born about 1700 in Venice, Italy. Having received musical training in Venice during his yough, he then went to Wurzburg, Germany in 1722, and settled there until his death on 11 January 1763. During his lifetime he was a renowned virtuoso on the harpsichord, oboe, flute, violin, and cello ; he also was a famous voice teacher and a tenor singer. Platti composed numerous instrumental compositions ; sonatas, most importantly keyboard sonatas, concertos, trio sonatas. Platti also composed some vocal works including an opera and a few sacred compositions. As a famed 18th-century composer of the late Baroque and pre-Classical periods, many of his instrumental works were printed during his lifetime. Although widely recognized in his lifetime Platti was forgotten soon after his death.
In 1963, 200th year after Plattis death, a complete edition of Plattis extant 18 keyboard sonatas, edited by the eminent Italian musicologist Fausto Torrefranca, was published by Ricordi. These 18 keyboard sonatas contain the epitome of Plattis musical language of both late Baroque and pre-Classical elements. As an exponent of the late Baroque, Platti is truly comfortable with his Baroque idiom in these sonatas. Yet, it becomes clear that, as read in his Six Sonatas, Op. 1(Nurnberg : Haffner, 1742) entitled VI Sonates pour le clavessin sur le gout italien at the very early stage of his keyboard sonata compositions, Platti began pursuing the new and highly fashionable Italian taste of the modern contemporary style.
The purposes of this study are to examine the stylistic traits of Plattis 18 extant sonatas and to evaluate the historical significance of Plattis contributions to the 18th-century keyboard sonatas. And, it is intended that by shedding a light on these delightful sonatas, Plattis long forgotten keyboard works may be brought back to the concert stage and be revitalized once again in todays concert halls.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 시대적·양식적 배경
• Ⅲ. 구성요소
• Ⅲ. 형식 및 화성구조
• Ⅴ. 선율과 반주양식
• Ⅵ. 결론
• 참고문헌
• 영문초록