@article{018e9e32-74ce-71b8-a7a0-67d36f03cc03,
author = {Zuzanna Ziarnowska},
title = {Wizje Apokalipsy w muzyce XX wieku (Olivier Messaien, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń)},
journal = {Kwartalnik Młodych Muzykologów UJ},
volume = {2022},
number = {Numer 53 (2/2022)},
year = {2022},
issn = {2956-4107},
pages = {59-72},keywords = {Apocalypse; the end of time; 20th century; symbols; transcendence},
abstract = {Visions of the Apocalypse in 20th-century Music (Olivier Messiaen, George Crumb, Bernadetta Matuszczak, Aleksander Lasoń)

	This article aims to various interpretations of The Apocalypse of St. John in 20th-century music. Because of its comprehensive use of symbols and mystery, The Apocalypse was often an inspiration for painters, poets, and composers. Particularly, worth analysing are symbols and visions used in selected compositions, such as The Quartet for the End of Time by Olivier Messiaen, Black Angels by George Crumb, Apokalipsis and Septem Tubae by Bernadetta Matuszczak, Symphony ‘1999’  by Aleksander Lasoń. Seven trumpets, seven horns, God’s anger, angels, destruction, God’s omnipotence, the victory of good over evil, and hope—those are the most common symbols used in these compositions. Transcendental and mysterious meaning is reflected by composers in various ways (from timbre and instrumentation, rhythmic diminution and tempo that shows eternity, to quotations and characters from The Apocalypse). Music written by different authors gives us a broad perspective on how the topic of Apocalypse was adapted in music.},
doi = {10.4467/23537094KMMUJ.22.009.16246},
url = {https://ejournals.eu/czasopismo/kmmuj/artykul/wizje-apokalipsy-w-muzyce-xx-wieku-olivier-messaien-george-crumb-bernadetta-matuszczak-aleksander-lason}
}