DOI: https://doi.org/10.37835/AMS-2024-17-18-04-2.04
Olga Zosim, doctor of Arts, Professor, Professor of the Department of Musical Art of the Donetsk State Prokofiev Academy of Music of Vernadsky Taurida National University (Kyiv, Ukraine)
The article notes that Franz Liszt's "Septem Sacramenta" is a unique work in which the artist turned to Christian dogma, namely, he embodied the theological concept of the seven Christian sacraments in music. The work has 7 parts: I. Baptisma. II. Confirmation. III. Eucharistia. IV. Poenitentia. V. Extrema unctio. VI. Ordo. VII. Matrimonium. It is noted that the Latin text chosen by the composer for each part refers to the content of the sacrament.
It is proved that, among all the works with religious themes, "Septem Sacramenta" is not related to worship in liturgical or paraliturgical aspects and is not connected with sacred texts. Nor is this work an example of religious music of an instructive or narrative type, such as oratorios or operas based on biblical stories. The work has a purely dogmatic content, and this is its uniqueness.
It is emphasized that Liszt's "Septem Sacramenta" has a performing tradition, and two recordings are available online. The first interpretation was made in 1991 by the Hungarian State Orchestra conducted by István Zámbó and the Hungarian Army Men's Choir, and this performance is an academic interpretation of Liszt's work that developed in the performance practice of the twentieth century. In the performance of Ensemble Gilles Binchois (director - Dominique Vellard) in 2022, the nineteenth-century performance tradition was recreated: instead of the organ, the harmonium sounds, and the vocal component is based on the traditions of the medieval and Renaissance type of performance, which is the basis for this ensemble specializing in early music.
Key words: Franz Liszt, musical work, Christian themes, interpretation.
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