THROUGH THE PRISM OF TIME: THE MATTHEW PASSION BY BENT SØRENSEN
Abstract
In the second half of the 20th and early 21st centuries, the genre of passions is experiencing a revival. Composers implement its new implementation by updating its compositional structure. To compositions, illnesses with an original approach to the genre, transport “Matthew Passion” by the Danish composer Bent Sørensen, the world premiere took place in Oslo in 2021. The article reveals the specifics of the artistic concept of the work, analyzes its figurative sphere, compositional and dramatic features. The idea is based on a pilgrimage, a journey into the past, to the crucifixion, and gaining faith. The specificity of the work is determined by the dramatic duality, which is realized at different levels: in the libretto – through the arrangement of spiritual and secular texts in Latin and English; in the figurative sphere – through the presence of two thematiclines (spiritual and sensuallove) and two times (past and present); in the musicallanguage – by combining different compositional techniques (tonality and sonorics) and heterogeneous stylistic material (one’s own and someone else’s). As a result, Sorensen’s work appears as a multi-component artistic whole, in which the divine and human, personal and universal are reflected through the prism of time and the dialogue of cultures.
About the Authors
S. V. DudoladovaRussian Federation
Sofia V. Dudoladova, student of the Department of Music Theory and Composition
Petrozavodsk, 1850310
E. G. Okuneva
Russian Federation
Ekaterina G. Okuneva, D. Sc. (Art Criticism), Professor at the Department of Music Theory and Composition
Petrozavodsk, 1850310
References
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6. Sørensen, B. (2019), “St. Matthew Passion (2019): programme note”, Wise Music Classical, Available at: https://www.wisemusicclassical.com/work/60751/St-MatthewPassion–Bent-S%C3%B8rensen/ (Accessed 10 February 2023). (in Eng.)
Review
For citations:
Dudoladova S.V., Okuneva E.G. THROUGH THE PRISM OF TIME: THE MATTHEW PASSION BY BENT SØRENSEN. ARTE. 2023;(2):20-32. (In Russ.)