Event overview
A Phenomenon of Hidden Word and Numbers in Alexander Knaifel's "Chapter Eight": To the Problem of Music interpretation of Biblical Texts
Alexander Knaifel is one of the most special composers of our time, and one of the brightest among them. The largest part of his compositions (the last updated list includes 96 of them) hardly could be identified within the existing system of music genres. Thus, musicologists will have a long time arguing which stylistic trends his oeuvre could be a part of. Alexander Knaifel's music, which was under an unofficial ban, would receive high international recognition in the 1980s and 90s; and since then it would be performed on prestigious festivals altogether with the music of Luigi Nono, György Kurtág, Helmut Lachenmann and other masters of avant-garde. Knaifel's “Chapter Eight” for a temple, choruses and cello is one of the central and most mysterious Knaifel's compositions. It was created in a very short time in the beginning of 1993 and was dedicated to Slava Rostropovich, who had performed in it on its premiere in Washington D.C. in April 1995.
“Chapter Eight” is based on the book from the Old Testament entitled "Song of Songs". The composer, however, does not make a soundtrack for the sacred text, but creates his own construction, in which the lyrics and digits are given the role that defines the form of the composition. “Chapter Eight” sounded several times in the temples of European cities; and every time -- notwithstanding the visible meditativeness and seemed tranquility of unfolding of the music -- the peculiar mood was created in the concert hall, the mood that is related to a different perception of time and space. The paper will consider the principle of author's work with the sacred text in detail -- which is represented in its heard and concealed aspect, -- and also with the digital rows that are related to the text and define a dramaturgy of the entire composition.
Dates & times
Date | Time | Add to calendar |
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4 Dec 2017 | 5:00pm - 6:30pm |
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