스크랩 루드비히 판 베토벤, 교향곡 제 6번, 잔원 - Symphony No. 6 in F major, Op. 68 "Pastoral"

[*琴波.金銀基*]

Deutsche Pastorale[German Pastoral]

Beethoven Symphony No. 6 in F major, Op. 68 "Pastoral" (Berliner Philharmoniker, Claudio Abbado)

Accademia Nazionale di Santa Cecilia, Rome, February 2001

Berliner Philharmoniker, Claudio Abbado

1:05 I Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande
Awakening of Cheerful Feelings upon Arrival in the Country[시골 도착 ]
Allegro ma non troppo

 II Szene an Bach[시냇가]
Scene by the Brook
Au bord du ruisseau
Andante molto moto

III Lustiges Zusammensein der Landleute
Merry Gathering of Country Folk[농부들의 잔치소동]
Joyeuse assemblée de paysans
Allegro

 IV Gewitter - Sturm
Thunderstorm[폭풍우]
Orage - tempête
Allegro

V Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm
Shepherd's Song. Happy and Thankful Feelings after the Storm[폭풍우후의 목동의 찬가]
Chant pastoral. Sentiments de joie et de reconnaissance après l'orage
Allegretto

Beautiful and excellent! Abbado’s version is one of the best interpreting Beethoven’s 6th symphony.

Composed between 1807/08
Premièred on 22 December 1808 at the Theater an der Wien

Life is chinchin by inch,
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Beethoven wrote his Sixth Symphony while still at work on his Fifth and premièred it at the same concert, the two works are a symphonic couple that could hardly look less alike, despite some matching details. The "Pastoral" has no fate to defy, no fight to win, and so no triumph to celebrate. There is a thunderstorm, which cannot be "conquered";instead, those who come through it are grateful for their delivrance - no trace of conflict here. The music makes an uncannily perfect fit with its title; the scenes from nature in the first two movements, especially the second, conjure up such a peaceful idyll that they seem to have no aim other than to rest and enjoy the countryside. Time stands still in them, and if you have no time to stand and stare, the music is not for you. It is fascinating to see that the themes are as fully developed as usual - but, like a natural process of organic growth, the structure takes shape almost unnoticed. The merry dance is cut short by the approaching storm, so vividly orchestrated that even the flashes of lightning are audible. As the last rumble of thunder dies away, it is replaced by an Arcadian hymn of pure ecstasy - the return to Nature at peace with itself. As before, nothing develops, nothing is driven forward; on the contrary, the music could go on like this indefinitely. It is time to enjoy the moment, a musical wish for things always to be as they are now.

베토벤 교향곡 6번 ‘전원’은 자연에 대한 사랑이 잘 담긴 곡이다. 사진은 베토벤과 작은 사진은 교향곡 ‘전원’이 담긴 앨범.


지난 4월 네덜란드 로열 콘세르트 허바우 오케스트라(Royal Concert gebouw Orchestra·RCO)를 이끌고 내한했던 헝가리 거장 지휘자 이반 피셔(Ivan Fischer)의 행보가 화제다.

이반 피셔는 부다페스트 페스티벌 오케스트라(BFO) 설립자이자 음악감독이며 현재 베를린 콘체르트하우스 수석지휘자를 겸임하고 있는 지휘자. 특히 공연 도중 다양한 파격을 도입하기로 유명한 인물이다. 종종 현악기와 관악기의 자리를 바꾸는가 하면 관중석 곳곳에 합창단원을 앉혀놓고 연주 도중 일으켜 노래하게 하는 등 놀라움을 선사했다.

‘이유 있는 파격’으로 불리는 피셔가 이번 RCO와의 내한에서 보여준 것은 그중에서도 가장 큰 파격이었다. 우선 나흘에 걸쳐 베토벤 교향곡 전곡(9곡)을 연주했다. 단기간에 베토벤 교향곡을 모두 연주한 것은 아시아에서 한국이 처음이며 전대미문의 프로젝트다. 그는 이번 공연에서 더욱 혁신적인 악기 배치를 선보였는데, 최고의 호연으로 꼽혔던 6번 교향곡 ‘전원’에서 가장 두드러졌다. 한쪽에 쏠려 있던 더블베이스를 무대 뒤편 중앙에 고정해 저음역의 좌우 균형을 맞췄고, 현악기에 가려졌던 목관악기 수석들을 지휘자 앞으로 옮겨놨다.

그러자 비로소 나타나는 소리들이 있었다. 시냇가 정경을 그린 2악장에서 플루트가 표현한 나이팅게일과 오보에의 메추리, 클라리넷의 뻐꾸기 울음소리가 선명하게 들리기 시작했다. 3악장에서는 농부의 소박한 악기 연주를 묘사하는 바순의 익살스러운 소리가 즐겁게 객석으로 날아들었다.

베토벤 교향곡 6번은 1808년 12월 22일 안 데어 빈 극장에서 그 자신의 지휘로 초연된 곡으로, ‘전원’이라는 표제는 베토벤 자신이 붙였다. 베토벤의 나이 38세 때 초연된 ‘전원’은 같은 날 함께 초연된 5번과 극과 극으로 늘 비교된다. 처절한 운명과 싸워야 하는 인간의 모습을 그리고 있어 ‘운명(Schicksal)’이라는 별칭으로도 불리는 것이 5번이라면 제6번 ‘전원’에는 인간의 괴로움과 투쟁이 아닌 자연에 대한 사랑이 담겨 있다. 5번이 인간을 표현한 것이라면 6번은 자연을 다뤘다. 전자가 응집력과 추진력을 갖춘 역동적인 음악이라면, 후자는 관조와 명상이 흐르는 이완된 음악인 것이다. 또한 베토벤이 교향곡에 담아낸 전원의 모습은 단순히 전원 풍경을 묘사한 ‘음화(音畵)’는 아니다. 자연에 대한 감정과 관념의 표현이다.

피셔는 이를 우리에게 알리기 위해 최선을 다했다. 그는 베토벤이 ‘극단적인 인물’이란 점을 강조했다. 극단적으로 거칠거나 서정적이며, 따뜻하거나 아니면 차갑다는 것. 이를 표현하기 위해 작곡가가 악보에 표기한 바를 꼼꼼하게 반영했다. 그 결과 우리는 좀 더 가깝게 베토벤을 만날 수 있었다. 그의 마음에도 따뜻한 새소리, 물소리, 바람의 소리가 있었다는 것을.

온천지에 꽃향기와 꽃가루로 가득한 봄, 피셔가 들려준 베토벤의 ‘전원’은 그래서 더 가슴 깊이 선명하게 다가왔다. 이제라도 깨달은 우리들의 모습을 바라보며 천국에서 베토벤이 흐뭇해하길 바랄 뿐이다. 얼마나 다행인가. 그런 존재가 우리 곁에 있었다는 사실이! [최영옥 음악평론가]

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