Instrumentalne „ikony pisane dźwiękiem” – dialog kompozytorów z muzyką sakralną na przełomie XX i XXI wieku (Sofia Gubaidulina, John Tavener, Wojciech Kilar)

Can a work of music be an Ikon in Sound? In Russian tradition there is no room for such musical genre as a sacred music. The Greek and English Orthodox Church attitude is liberal enough to approve works of John Tavener during liturgy. Sofia Gubaidulina encoded her In Croce (The Crucifixion) – for cello and organ (1979 version) or cello and bayan (1992 version) – with references both to of Bach’s „St. Matthew Passion” and symbolic characteristic of the Crucifixion icon. A Theology of Beauty (term by Paul Evdokimov) which is icons’ writing, correspond in work of the composer with elements of Western Christian Thought (symbols and metaphors related to Christ suffering).