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SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI

Katarzyna Szymanska-Stulka

Abstract

In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger’s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretation, I will guide towards the sphere of experience and define a sacred place as an area where you can feel safe, surrounded by somewhat mysterious; calm down, focused on, forget about reality. At this place you can also be moved, sublimed and touched by presence of eternity, and share or express the fullness of life emotions. I present a musical analysis of sacred elements on the examples of works by contemporary Polish composers focused on the image of the suffering Mother of God under the cross of her son: Luctus Mariae by Pawel Lukaszewski from 2010 based on the Latin version of the Stabat Mater sequence, referring to the convention of the Italian madrigal theater from the 18th century and representing a severe beauty of the contemporary vision of meditation, and Stabat Mater by Ignacy Zalewski from 2018 making the suffering of the Mother of God more ‘real’ basing on the contemporary version of a medieval sequence in a current experience of symbolic performative and vivid image that can be shared by the recipient.

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DOI resolver: doi.org/10.35603/sws.iscah.2023/vs08.09

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