Vale, Creo! Audimus. (Sbohem, Kreonte! Posloucháme.) : parodická destrukce pozdravu v Stravinského Králi Oidipovi?

Variant title
Vale, Creo! Audimus. (Good-bye, Creon! We hearken.) : a parodic destruction of the hail in Stravinsky's Oedipus Rex?
Author: Sýkora, Pavel
Source document: Musicologica Brunensia. 2009, vol. 44, iss. 1-2, pp. [193]-202
Extent
[193]-202
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type
Article
Language
Czech
License: Not specified license
Abstract(s)
Stravinsky's opera-oratorio Oedipus Rex is his first great Latin composition. Composer's method of work with Latin language is derived from phonetic structure of his Russian compositions. Latin begins characteristic for his other spiritual works. The syntactic form of Cocteau's libretto is paratactic. In Auerbach's opinion this primitive form is used for monumental events (e.g. the plague in Thebes). The typical feature of Stravinsky's music is repeating of dramatic words ("pestis", "trivium", "oracula", etc.), or sentences: "Divum Jocastae caput mortuum". -- Among rhetoric principles in the libretto, the figure annominatio is appeared. E. R. Curtius defines it as the characteristic product of the literary mannerism: "clarus" - "clarissimus", "liberi" - "liberabo", "Thebas" - "Thebis" etc. The hail "Vale, Creo" is - according to composer - one of the mistakes in the oratorio. This "mistake" was, however, accepted in the critic editions (Boosey & Hawkes) and can be explained as the parody of hail with its characteristic feature of destruction. The dramatic effect of this place is based on the context in which it is situated.
Document