French Oratorio in the 19th and 20th Centuries: from Berlioz to Jolivet and Messiaen
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Abstract
This article considers, for the first time in Russian musicology, the
evolution of French oratorio of the 19th-20th centuries. The author suggests
that this genre is characterized by poly-genre condition, which is a
dynamic-variable synthesis of musical and non-musical genres of different
periods, and that it is based upon poly-spatial and simultaneous
processes in dramaturgy. Upon looking through the scores of Berlioz,
Franck, Honegger, Milhaud and Messiaen, the author has emphasized
four temporal levels: external acting (stage time), psychological (time of
inner experience), ritual (time of meditation) and religious-symbolic
(extratemporal, existential). The latter reflects upon the formers. All this
contributes into creation of Christian tragedy with the zone of transfiguration
at the end. The climax of the evolution in the 20th century is shown
as the poly-genre mysteria.
Keywords: poly-genre condition, poly-spatial condition, dynamicvariable
synthesis, conception, Christian tragedy, Being, mysteria
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References
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