Liturgia Sacra, 2019, R. 25, nr 1 (53)
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Przeglądaj Liturgia Sacra, 2019, R. 25, nr 1 (53) wg Temat "cathedrals"
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Pozycja Muzyczne katedry Charlesa Tournemire’a – Deux Fresques Symphoniques Sacrées pour orgue, op. 75 i 76Raba, Bogusław (Redakcja Wydawnictw Wydziału Teologicznego Uniwersytetu Opolskiego, 2019)Dedication of the musical work to the temple has become a peculiar tradition of the French organ music of the turn of the 19th and 20th centuries. For Charles Tournemire, like many artists of that time, this inspiration resulted from the sense of communing with the unusual phenomenon in Western culture. Religious renewal, the emergence of mystical and esoteric trends, and the symbolist idea of the correspondence of the arts stimulated multidimensional interests of artists in the Gothic cathedral. The article examines the relation of artistic correspondence between the works of Tournemire and cathedrals, which he chose as the object of dedication. The character of these relationships is determined by the following elements: 1. essential aspects (significant relationships): ekphrasis, transmedialisation; 2. occasional aspects (contingent connections). Tournemire chose churches of special importance: value, function, history. The Symphonic frescoes are the fullest expression of Huysman’s vision of “sounding cathedrals” in the work of Tournemire. Nevertheless, dedications of earlier compositions and mature music testify, that he was under the constant influence of this kind of stimulus. The gradual development of his own musical style, based on topic expressing connection with the medieval cathedrals and its immaterial attributes (Gregorian chant, reverberation, spiritual atmosphere), has led to the interoration of this type of symbolic structure as attributes of his own musical language. The lack of sharp references to the chu rches to which the works were dedicated makes us recognize them more as an expression of transmedialisation than of ekphrasis, based on the French symbolist idea of correspondance des artes.