| Abstrakt: |
The article addresses die sacral music by Juris Karlsons and its diverse manifestations in genres and styles. The sacral music of Karlsons crowns his creative oeuvre. The composer works in the creative space of sacral mentality. A special term ‘an extra-sacral spirituality' has been suggested - the term denotes the expression of sacral topics and musical content outside sacral genre compositions (Sunset Glow, symphonic vision for folk singer and symphony orchestra, etc.). The interaction of secular and sacral elements is meanwhile analysed in relation to ritual and ceremonial principles. The sacral music by Karlsons can be systematized according to the verbal and genre factors. The symphony for choir and orchestra Adoratio (2010) represents the peak of the sacral oeuvre. The uniqueness of this composition manifests itself in the combination of the sacral ceremonial, philosophical content and rhe symphonic conception. The article takes a closer look at the programmatic content and the specifics of sacral ritual plot realization. The theatricality of Karlsons' sacral music deserves special attention. The mobile realization of mono-timbre dramaturgy is amongst the aspects of vocal material use, characteristic of Karlsons. The system of symbols (personification of characters) and instrumentations (individualization of timbre) is rhe key dramatic aspect of the thematic theatricality of the sacral ritual plot. Occasionally the transformation of the sacral ritual into the secular one can be observed. The development of this article has led to several conclusions: •The sacral music by Karlsons has drawn significant impulses from the period of rhe late 1980ies, when rhe old creative values were re-evaluated by Latvian composers; •The interaction of spiritual content, sacral plot and philosophical messages takes place in the sacral compositions by Karlsons; • In rhese compositions the synthesis and mobility of genre, the transformation of sacral ritual and ceremonial into secular ritual, as well as extra-sacral spirituality can be observed; • The systematization of Karlsons' sacral music reveals the diversity of genres, as well as the special significance of the verbal factor; • The peak of Karlsons' sacral music - the symphony for choir and orchestra Adoratio - perfectly illustrates the theatrical aspects of his music: the literary program, the visualization of music, the intricate dramaturgy and the direction of music that involves the whole complex of the means of musical expression; • Le lagrima dell' anima (Tears of the Soul) for mixed choir and piano is the symbol of meditative contemplation and the peak of meditative visualization in Karlsons' oeuvre; • The Garden of Moonlight (Menesgaismas darzs) for soprano, alto saxophone and organ illustrates the mobility and the transformations of sacral themes and sacral plotlines in Karlsons' music. [ABSTRACT FROM AUTHOR] |
