Sacred architecture of J. S. Bach’s Sarabanda in B minor from Partita No. 1 for solo violin (in memory of Teacher, Professor Arsenii Mykolaiovych Kotliarevskyi)

Statement of the problem. Objectives, methods, and novelty of the research. The study is devoted to the analysis of the unfolding of the composition Sarabanda in B minor from J. S. Bach’s Partita No. 1 for solo violin. Against the background of fairly broad musicological orientations to the performing interpretation of the composer’s music (the analysis of J. S. Bach’s scores for solo violin usually concerns of performance issues), a rarely used method is applied related to the concept of “Sophiness” by S. Krymskyi and aimed at finding parallels between musical architecture and symbolism of sacred architecture, which constitutes the scientific novelty of the proposed study. The purpose of the article is to study the compositional features of architectonics of Sarabanda in B minor to reveal the associative parallelism between form-making in music and temple architecture. The following methods of analysis are used: – spiritual-semantic and synergetic as tools for studying the spiritual dimension of the composer’s thinking and its reflection in musical architecture; – a comparative method and a modeling method that allow drawing parallels between musical architecture and temple architecture. Results and conclusion. It has been established that the sound thinking of the composer within the limits of the baroque sarabanda gives an opportunity to feel the master’s awareness of the sacred value of the “eight eights": the “initial squareness” unfolds into “non-squareness” and is restored at a higher level of the compositional structure. The multidimensionality of the thematic core of the work contributes to the construction of the spiral architecture of the work (Spira mirabilis), the originality of which is revealed when its factors are transferred to a higher, semantic, level of dramaturgy. Consequently, “an upward compositional modulation” (initiumprogressus-complementum) occurs, during which a number of associative architecture parallels emerge: the genre of the Lutheran chorale associates with the sacred “foundation” of the musical “temple”; two tonal spheres (h-moll / D-dur) – two “spires”; the “question-answer” process between the cadences of the exposed “facade” – with arch supports, “archbutanes”; the exit to the subdominant sphere of E minor at the point of the “golden section” – with “light window”, “rose” of the Gothic temple, etc. The comparison of musical architecture and temple architecture is due to the multidimensionality of psychological aspects of perception, where “everyone is looking for his own way” (according to C. G. Jung), and the common laws of Harmony are able to affirm the perfection of a higher order – Life in all its manifestations, reviving what is so necessary in our time sacred semantics of Beauty.