The article is devoted to the style synthesis in Stravinsky’s work, which resulted in the emergence of new sacred music of the 20th century. It was important for Stravinsky to assert his position on liturgical music—a departure from the operatic style of the 18th and 19th centuries and a revival of the austere, devoid of sensual emotion, ascetic spirit of the church compositions of the pre-opera era. In this connection, special attention is paid to the composer’s use of the sources of Russian and Latin liturgical monody; the study of the materials of the Paul Sacher Foundation has made it possible to substantially clarify and expand the ideas in this area. The traditions of medieval liturgical monody can be traced in Stravinsky’s music throughout his entire career in works of various genres, manifested in a multidimensional way and with varying degrees of indirectness. The most interesting from this point of view are the works on spiritual texts—biblical and liturgical texts, the analysis of which reveals a wide range of influences from Christian music, not only medieval music but also from later times.
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