“QUARTET FOR THE END OF TIME” O. MESSIANA AS THE EMBODIMENT OF THE SACRED IDEA OF THE BAROQUE CHURCH SONATA

Abstract

The purpose of this study is to highlight the points of connection between the construction and the semantic positions of the work with the baroque pledges of the instrumental composition of the sonata da chiesa type, including the exit to the extra-artistic space of the sacral and cultural purpose of the work in the context of the evolution of Messianus to the entry into the mysterious layer of content, clearly realized in his only opera “St. Francis of Assisi”. The methodological basis of the research is a cultural interdisciplinary approach, based on the methodology of cultural analysis of musical works, developed in the works of O. Markova and representatives of her school, consistent with the positions of O. Roschenko, determined by interdisciplinary approaches to the analysis of artistic works, presented in the works of R. Bart and Yu. Kristeva. The scientific novelty of the work is determined by the determination to identify the sacred context of the appeal to pro-baroque constructions, i.e. to the awareness of the non-artistic component of O.’s music. Messiana, dictated by his deep religiosity and the passing of the artistic self-sufficient value of musical expression. Conclusions. Evidence of baroque achievements in the construction of the Quartet at the end of time leads to the depth of the religious and symbolic meanings invested in the voicing of the work and its very genre uniqueness in the composer’s legacy (an analogue is the singularity of the symphony “Turangalila”, later the opera “St. Francis of Assisi”) in its mysterious realization. Such an angle of analysis, associative-hermeneutic in its typological certainty, introduces as a positive characteristic of the meaning of the work as something that goes beyond the boundaries of art and enters the sphere of religious music with a symbolic-associative purpose, which is laid by the symbolist origins of the method of the composer, who realized himself as an heir to the symbolism of K. Debussy and O. Scriabin.