Wielość i jedność w muzyce sakralnej Bogusława Schaeffera

Abstract

Among the compositions written by B. Schaeffer before 1986 there are six of a definitely religious character: "aDieu" (1973) for trombone solo, "Missa eletronlca" (1975) for boyschoir and an electronic tape, "Miserere" (1978) for soprano, choir and tape, "Te Deum" (1979) for solo voices, vocal group and orchestra, "Stabat Mater" (1983) for soprano, alt, choir (descants and contraltos), stringed instruments and organ, "Missa symphonica" (1986) for orchestra, soprano, violin and soprano saxophone solo. "Miserere" and "Missa eletronlca" are considered by the author to be two of his most important compositions. Thus religious music is a separate chapter in his musical production – it is very close to the composer himself and at the same time (except for the "Missa elettronica") it is quite an unknown part of his work. The religious compositions of Schaeffer were not composed to order and probably none of them were made to meet the future demands of his audience. The compositions came into being as a result of the autonomous development of the author's creativity and they are genetically related to his world outlook and to the traditions he was brought up in. Here we should look for the reasons for which he composed these works, which were meant primarily for himself, e. g. "Te Deum" is a composition of thanksgiving on his 50th birthday. The meaning and the religious ideas of the word "catholic" are especially inspiring motives for Schaeffer. Universality in his compositions finds its correspondent in the plurality and diversity present both in the techniques used and in all possible musical languages which may and should be employed to "praise the Lord". The range of techniques is vast: from subtle changes and nuances ("Stabat Mater") to clashes of contrast (both Masses), from archaization (choirs) to extremely avantgard solutions ("aDieu"), from the natural lyricism, full of simplicity of the vocal parts to the dignity and seriousness of the sounds of the orchestra. The concept of aesthetics becomes more pronounced: vocal and instrumental music, venerated for centuries, now cooperate with the newest musical forms like electronic music which only lately was elevated to a religious function.