Przeżycie estetyczne twórcy a kształt dzieła muzycznego : o toposach muzycznych w twórczości Aleksandra Lasonia na podstawie "III Symfonii 1999"

Abstract

The art seems to be naturally predestined to express “the inexpressible”, especially musical art, the musical contents of which constitute sounds, together with their ambiguity and indefiniteness. Similarities between aesthetic and religious solemnity constitute the key to read Symphony by Lasoń. In the 1999 Symphony, four main types of themes were distinguished; toposes hymnic in nature, toposes oriental in character, melismatic toposes, and bird-like ones, the aesthetic shape of which undergoes interpretation in the context of a religious experience. Such an analysis and selection of thematic thoughts serve the exploration of structural relations between basic motives or themes of a given work, and thus, the presentation of its coherence. The factors that contribute to the distinction of four main types of thoughts constitute stable constellations of technical elements, such as instrumentation, rhythmics, melody, the scale used, and, above all, a characteristic and specific emotion with a corresponding analogic religious feeling. The main four types of themes, presented on the basis of the 1999 Symphony in works by Lasoń, are typical not only of the very composition, but they can already be found in his earlier works. Obviously, the types of themes have been undergoing transformations and changes, however, their common thing is still readable.