구레츠키(H. M. Górecki) 아 카펠라(a cappella) 작품 분석 연구: 새로운 단순성(Neue Einfachheit)과 미니멀리즘(Minimalism) 음악어법의 비교 관점으로1)

The explanations of works by Henlyk Mikolaj Gorecki, a composer from Poland, generally employ a mixture of various concepts such as ‘ethnic-religious influence’, ‘Neue Einfachheit’ from Germany and ‘minimal music’ originated in the United States. Through analyses of his works, this paper accounts for the reason why. Because Gorecki went through changes in his writing tendency, the range of time period and genre for this study is limited to a cappella choir music since 1972. Due to his orchestral works of late 60s, ‘perspicuity’ and ‘simplicity’ became representative of Gorecki’s inherent characteristics. Through the following approaches, this paper defines what elements could be identified as ‘Neue Einfachheit’ or ‘minimal music’. Before going into analyses of a cappella choir works, the changes found in his writing tendency will be mentioned and this will confirm the validity for the selection of works to be studied in this paper. His innate musical language, established in Symphony No.3 (1976) by employing church music and folk songs, is confirmed. The research is centered on analyses of Euntenes ibant et flebant op.32 (1972), written in Latin, and Zeroka Woda op.39 (1979), based on the lyrics and melodies of Polish folk music. Common musical characteristics found in both pieces will be applied to the study of works using Latin text such as Amen op.35 (1975), Miserere op.44 (1981) and Totus Tuus op.60 (1987), and others based on Polish folk music like My Vistula, grey Vistula op.46 (1981) and Three Lullabies op.49 (1984, rev. 1991) in order to confirm the unique musical language of Gorecki. Based on analyses of works, the last part of this paper which stands in for conclusion sums up how Gorecki's peculiar musical language differs from or analogous with Neue Einfachheit, minimalism technique, and musical thoughts of the time. Furthermore, this paper suggests that the musical characteristic of Gorecki, who is neither a minimalist composer nor a representative composer of Neue Einfachheit, maybe viewed as that of ‘new’ nationalistic music in connection with spatial and temporal environment where he was actively involving.