멘델스존의 <마태수난곡> 바흐 사후 초연의 배경과 실제, 그리고 결과 (St. Matthew Passion: Mendelssohn’s Premiere, its Performance Context, and Afterthoughts.)

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초록

This paper, by replying upon the survey of historical documents, explores various contexts in which the premiere of St. Matthew Passion after Bach’s death presented in March 11, 1829, was an enormous success, illuminating the real sonority that the audience of the premiere was exposed. Also, this paper address the impact of this performance and various ways in which it changes the contemporary journalism, the entire reception history of Bach’s music, and even the printing industry.
I argue that the success was based upon the emphasis and need given to the reception of Bach’s composition created by the contemporary music journalism even before its premiere. This provides ways in which Bach’s music is approached and appreciated, engaging the society through the work and underscoring the value of Bach’s music. A new aesthetic perspective proposed by them also comes into play in creating the reception of the St. Matthew Passion. Also significant was the vocal tradition carried out by C. F. C. Fasch and C. F. Zelter of Singakademie. In particular, the great passion for the composition and its performance manifested by the young members of Singakademie including Mendelssohn, and E. Devrient all play an important role. In other words, various aspects that I cited in this paper allow the contemporary audience to rediscover the nature and true value of St. Matthew Passion, bring them a truly moving musical experience.
This result in a ‘realized’ art work that keeps its musical character unchanged, yet adding a new significance and thereby new life to it. Subsequently, St. Matthew Passion takes on its own life that leads the 19th century audience, journalism, and particularly the composers to uncover ‘romantic’ Bach and to receive Bach’s music in light of Historismus. This, in turn, leads Bach’s music and its reception to be considered as a ‘compositional rule’ that remains consistent and consonant during the time when various and often conflict musical aspects coexist side by side.

영어초록

This paper, by replying upon the survey of historical documents, explores various contexts in which the premiere of St. Matthew Passion after Bach’s death presented in March 11, 1829, was an enormous success, illuminating the real sonority that the audience of the premiere was exposed. Also, this paper address the impact of this performance and various ways in which it changes the contemporary journalism, the entire reception history of Bach’s music, and even the printing industry.
I argue that the success was based upon the emphasis and need given to the reception of Bach’s composition created by the contemporary music journalism even before its premiere. This provides ways in which Bach’s music is approached and appreciated, engaging the society through the work and underscoring the value of Bach’s music. A new aesthetic perspective proposed by them also comes into play in creating the reception of the St. Matthew Passion. Also significant was the vocal tradition carried out by C. F. C. Fasch and C. F. Zelter of Singakademie. In particular, the great passion for the composition and its performance manifested by the young members of Singakademie including Mendelssohn, and E. Devrient all play an important role. In other words, various aspects that I cited in this paper allow the contemporary audience to rediscover the nature and true value of St. Matthew Passion, bring them a truly moving musical experience.
This result in a ‘realized’ art work that keeps its musical character unchanged, yet adding a new significance and thereby new life to it. Subsequently, St. Matthew Passion takes on its own life that leads the 19th century audience, journalism, and particularly the composers to uncover ‘romantic’ Bach and to receive Bach’s music in light of Historismus. This, in turn, leads Bach’s music and its reception to be considered as a ‘compositional rule’ that remains consistent and consonant during the time when various and often conflict musical aspects coexist side by side.

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