The Phenomenon of “Non-Verbal” Prayer in the Religious-Philosophical Instrumental Compositions by Sofia Gubaidulina
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Abstract
The article examines from a new persective Sofia Gubaidulina’s instrumental compositions. The concept of “non-verbal” prayer is introduced in relation to the composer’s religious-philosophical compositions. The essence of the concept is disclosed, and it is philosophically comprehended. The author outlines important argumentative parallels: she establishes the interconnection of prayer with dialogue, the essence of the „dialectics“ of prayer reveals the meditative nature and the possibility oft he non-verbal existence of prayer. Spiritual Revelation becomes the leading sphere of the content of the instrumental music. The meditative and the sacred become unified by a common meaning, the core of which is formed by the purefying element as the highest expression of spirituality. The leading conception is presented by the Christian tragedy with the zone of Enlightenment and Transfiguration at the end ofthe composition. The author discloses these regular occurrences on the example of the Concerto for Piano and Chamber Orchestra „Introitus,“ the piece for bayan „De profundis” and the Partita “The Seven Last Words of Christ” for cello, bayan and string instruments. The composer recites a prayer and carries out church service in the literal meaning, albeit not in the walls of a church, but through a deep immersion into the creative act.
Keywords: Sofia Gubaidulina, Concerto for Piano and Chamber Orchestra “Introitus,” “De profundis” for bayan, “The Seven Last Words of Christ” – Partita for Cello, Bayan and String Instruments, prayer, meditation
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