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Music embodiment of iconographic scenario of temple space in the cycle “Three chorales for Organ” by Cesar Franck

Dombrauskene Galina Nikolaevna

Doctor of Art History

Professor at the Department of History of Art and Culture of Maritime State University n.a. Admiral G.I. Nevelskoy, Professor at the Department of Music History, Far Eastern State Institute of Arts

690090, Russia, Primorskii krai, g. Vladivostok, ul. Pos'etskaya, 28A, kv. 19

dombrauskene@mail.ru
Другие публикации этого автора
 

 

DOI:

10.7256/2453-613X.2019.4.30635

Review date:

27-08-2019


Publish date:

14-09-2019


Abstract.

The purpose of the study is to reveal the meaning-making impetuses of one of mysterious works of Cesar Franck “Three chorales for Organ”. The key problem in the cycle interpretation is connected with the absence of the reference to genuine melodies of ancient temple singings. Traditionally, their presence in music works forms a conceptual core due to the connotation of a choral verbal text.
The author of the article gives attention to Franck’s pioneer approach to the creation of the “Chorales” in the vein of choral fantasies, the principles of his composer’s thinking and the revelations of the inner conceptual structure of the composition. To reveal the content of the music of the “Chorales”, the author uses the complex approach taking into account the cultural and historical context, the influence of scientific concepts in the field of iconography and iconology, which had been popular in France since the 1830s, the peculiarities of Franck’s creative thinking with the signs of synaesthetic nature. The music-hermeneutical and semiotic analysis helped to consider the elements of the music language , such as music symbolism, music-rhetorical figures, semantics of modes and other representatives of the inner conceptual structure. Based on the research, the author makes an assumption that Franck’s chorales are the basic doctrinal images of Christ in terms of their spatial location in a Catholic church according to the iconic scenario developed as far back as in medieval theology. Correlations with iconographic and iconological principles in the composition of music images helped to design the following conceptual structure of the cycle: Chorale #1 - “The Nativity of Christ”, Chorale #2 - “The Passion of Christ”, Chorale #3 - “The Resurrection of Christ”. In terms of temple space, these images correspond to the entrance, the central part and the altar. 
 

Keywords: musical semiotics, musical rhetoric, musical symbolism, iconology, iconography, gothic art, choral, Cesar Frank, musical content, musical romanticism
This article written in Russian. You can find full text of article in Russian here .

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