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MUSICAL STAINED GLASS WINDOWS. INSTANCES OF THE SOUND IMAGINARY IN COMPARATIVE VIEWS
Abstract
This article aims to highlight two aspects of sound concretization of a convergent spiritual background generated by the symbolism of stained glass window, exposing conceptions, orientations and even writing techniques belonging to composers considered to be very different stylistically. Come into sight since the period of great medieval cathedrals, the stained glass window will transcend the purely visual stage, being symbolically filled by the polysemy of light-colour-sacrality triad. From this perspective, the two musical works belonging to the composers Mihai Moldovan and Doina Rotaru corroborate the route from idea (symbolics) to sonority (materiality of musical score), the comparison of them revealing – given a neo-modal relatively homogeneous grammar – virtual availability of the sound structures in †simulating' one and the same semantic perspective.
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References3
Ursu Ileana. Povara sublimului. Monografie Mihai Moldovan [The Burden of the Sublime. Monograph of Mihai Moldovan], Editura Muzicală, Bucureşti, pp. 166-185, 1996.
Andron Diana-Beatrice. Treptele luminii. Simbol şi structură în creaţia compozitoarei Doina Rotaru [Steps of Light. Symbol and Structure in the composer’s Doina Rotaru Oeuvre], Bachelor Thesis, manuscript, Iaşi, p. 34, 2006.
Ştefănescu Ionuţ Bogdan. Joc de oglinzi [Game of Mirrors], Editura Libra, Bucureşti, p. 123, 2004.
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