B. A. C. H. - MISSAL FOR ORGAN, BY EDUARD TERÉNYI
B. A. C. H. - MISSAL FOR ORGAN, BY EDUARD TERÉNYI

Summary/Abstract: the creation period of the 62s – 72s that is considered by the maestro Eduard Terényi to be “constructivist” or “the crystal music”, that is characterized through symmetry (melodic lines, chords, mirrored rhythmic reports) and also, the closeness to the serialisation through the application of certain pre-established rhythmical-melodically patterns. “Not even a tone is free!” the author declares. The entire musical work has a constructive characteristic, which has the key in the anagram B.A.C.H. The generating motif is extrapolated to other levels of articulation: the rhythmical, the harmonically, the formal, the one of the central tones, the dimensions in bars and that of the macro-organisation of the work. Regarding the circularity idea that is suggested by the B.A.C.H. melodic movement, the formal technique is that of a melodic ostinato, either harmonically or polyphonically. The B. A. C. H. motif is treated as a micro-series as it can be found in all the four hypostases of the modus quaternion, into transpositions of these and also into permutations and transpositions of the permutations. We can remark the composer’s preference for the symmetrical, palindromical structures: the exposing in a vertical mirror (the recurrence) or the horizontal one (the inversion) of two or more motifs of the B. A. C. H. type; the chords in the mirror.

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