Title: Archetypal symbols in the symphonic poem The Sea by Mikalojus Konstantinas Čiurlionis
Source document: Musicologica Brunensia. 2020, vol. 55, iss. 1, pp. 103-116
Extent
103-116
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2020-1-7
Stable URL (handle): https://hdl.handle.net/11222.digilib/142892
Type: Article
Language
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
We find many symbolic legacies in the creative and musical work of Lithuanian music composer and painter Mikalojus Konstantinas Čiurlionis (1875–1911). He processed cosmological, religious, national Lithuanian and natural motifs. The symphonic poem titled Jūra (The Sea) from 1907 is saturated with archetypal symbols of the natural elements with a philosophical overlap. The study focuses on the analysis and interpretation of selected musical symbols in the structure of the work. The initially onomatopoeia effects of the composition get new significance and contexts during archetypal performance. The archetypal symbols of the composition refer to the patterns of the life cycle on the background of the ambivalent water element. The study has the objective to newly interpret the symphonic poem Jūra in the context of archetypal symbolism.
References
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[3] BACHELARD, Gaston. Water and Dreams: An Essay on the Imagination of Matter. Texas, Dallas: Dallas Inst Humanities & Culture, 1999.
[4] ČIURLIONIS, Mikalojus Konstantinas. Čiurlionis simfoninés poemos. [CD audio]. Lithuanian National Symphony Orchestra. Vilnius: Impetus musicus, 2012.
[5] ČIURLIONIS, Mikalojus Konstantinas. The Sea. [orchestral score] Leningrad: Muzyka, 1965.
[6] DAUNORAVIČIENĖ, Gražina – Rima POVILIONIENĖ. Mikalojus Konstantinas Čiurlionis (1875–1911): jo laikas ir mūsų laikas : stduijų ir mokslo straipsnių rinkinys. Vilnius: Lietuvos muzikos ir teatro akademija, 2013.
[7] Dialogues of Colour and Sound: Works by Mikalojus Konstantinas Ciurlionis and His Contemporaries. Lithuanian Art Museum, 2009.
[8] GOŠTAUTAS, Stasys – Birutė VAIČJURGIS-ŠLEŽAS. Čiurlionis: painter and composer: collected essays and notes, 1906–1989, with 209 illustrations. Vilnius: Vaga, 1994.
[9] JUNG, Carl Gustav. Symbols of Transformation. Collected Works Volume Five. New York: Routledge, 1956.
[10] JUNG, Carl Gustav. The Archetypes and the Collective Unconscious. Princeton: Princeton University Press, 1969.
[11] JUNG, Carl Gustav et al. Man and his Symbols. New York: Dell Publishing Company, 1968.
[12] KALNICKÁ, Zdeňka. Water and Woman: Symbolic-Aesthetic Archetype. Berlin: VDM publishing house Itd., 2010.
[13] KANDINSKY, Wassily. Point and Line to Plane. New York: Solomoner R. Guggenheim Foundation New York, 1947.
[14] KAZOKAS, Genovaité. Musical Paintings: Life and Workof M. K. Čiurlionis (1875–1911). Vilnius: Logotipas, 2009.
[15] KEYM, Stefan. Landschaftsmalerei versus Sonatenform. Die symphonischen Dichtungen Miške und Jura von M. K. Čiurlionis. Musicology of Lithuania/Lietuvos muzikologija, 2009, t. 10., pp. 8–28.
[16] KIMBRYS, Petras. Mikalojus Konstantinas Čiurlionis: twórczość, osobowość, środowisko. Nacionalinis M. K. Čiurlionio dailės muziejus, 2001.
[17] KOZEL, David. Mythological Archetype in Music and Principles of its Interpretation. International Review of the Aesthetics and Sociology of Music, 2016, Vol. 47, No. 1, pp. 3–15.
[18] LANDSBERGIS, Vytautas. M. K. Čiurlionis: Time and Content. Vilnius: Lituanus, 1992.
[19] RESPIGHI, Ottorino. Trittico Botticelliano. [orchestral score]. Milan: Ricordi, 1928.
[20] TARASTI, Eero. Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, especially that of Wagner, Sibelius and Stravinsky. Helsinki: Suomen Musiik kitieteellien Seura, 1978.
[21] TARASTI, Eero. Semiotics of Classical Music: How Mozart, Brahms and Wagner Talk to Us. Berlin: De Gruyter, 2012.