Маска, алегория и избор като инструменти на сюжетността
Mask, Allegory And Choice As Instruments Of The Plot/ Narrativity

Summary/Abstract: The present article is a continuation of the theme that occupied me lately – the music plot/musical narrativity. My interest here in is concentrated on the question: How did the music plot/musical narrativity outlive the Avant-gardist lustration? Or, how after Darmstadt’s idyll once again was heard Et in Arcadia ego – the voice of human being, the voice of Homo-in-musica, the sound of endless ontological song of Dasein – the Genesis, which all we are? We – as musically self-understanding, fulfilling with sound our existence. For protagonists of this short study I chose two composers, Lazar Nikolov and Anatol Vieru. Besides for the quality of their music, they were chosen also for the very typical for both of them liberation from the Avant-garde’s conventionality. The text deals with the wholeness of the scope, the so-called Megethos, the transcendental break-through the wholeness of the existence inherent for the Post-Avant-garde’s “sujet thinking” in music. Treated are the questions of the mask (in very broad meaning – lichina, imago) as a manipulator of temporality and the series as an allegorical instrument. Touched upon are concepts such as “realization of form”; and are given interpretations of the composers’ self-defi nitions such as, “comedy of numbers” (Anatol Vieru) or “invisible producer” (Lazar Nikilov). In the last section of the text an experiment was undertaken to sketch the aesthecally mimicried ethic project of Lazar Nikolov and Anatol Vieru.

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