SACRUM W TWÓRCZOŚCI ATEISTY? O MUZYCE WOKALNO-INSTRUMENTALNEJ SZYMONA LAKSA
SACRUM W TWÓRCZOŚCI ATEISTY? ON SIMON LAKS'S VOCAL-INSTRUMENTAL MUSIC

Summary/Abstract: One of the prevailing themes in the output of Simon Laks (1901-1983) is religiousness: religious literary motifs emerge in twenty-one songs, twelve arrangements of Christmas carols, and the composer's only opera. This fact arouses interest due to the musician's atheistic views, which can be reconstructed on the basis of his literary works. The article attempts to reconcile these contradictory tendencies in the context of the thought of the French philosopher André Comte-Sponville. The issue of music "marked by contact with the sacred" belongs among the main areas studied by the Kraków School of Music Theory (represented by Mieczysław Tomaszewski, Kinga Kiwała, Agnieszka Draus, Renata Borowiecka, Regina Chłopicka, and Krzysztof Cyran). The terminological and methodological approach, conceived in accordance with the scholarly reflection of this group, makes it possible to identify the possible presence of the phenomenon of the sacred in the composer's vocal-instrumental output. The analyses presented in the paper were conducted in the context of the classification of music belonging to the sacred sphere, definitions and variants both of sanctity and the musical sacred, as well as to the syndrome of sacred music. As a result, following the structuralist ideas developed by Algirdas Greimas, the author develops a model of the constitution of the "epiphanic moment" present in Laks's music.

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