Abstract

This short essay is the first in a series of studies designed to illustrate the Maestro`s laborious compositional and scientific activity: The rhetoric of S. Toduțǎ`s stylistic analyses as reflected  in the treaty “Formele muzicale ale barocului în operele lui J. S. Bach” (Baroque Musical Forms in the Works of J. S. Bach); From Urtext to text in Sigismund Toduțǎ`s opera-oratorio "Manole the Craftsman”; On the footsteps of the composer`s hermeneutical annotations to the text of the drama; The aesthetic message of the musical Baroque reflected in the analysis conducted by  S. Toduțǎ on J.S.Bach; Problematization and systematization - complementary dimensions of Toduțǎ`s musical poetics; Exhortations toward rhetorical research in the light of the treaty “Formele muzicale ale barocului de S. Toduțǎ” [Baroque Musical Forms by S. Toduțǎ]; The aesthetic characteristic of the relationship between text and melody in Sigismund Toduțǎ`s works. The paper dwells on the aesthetic importance of rhetorical generalizations on the value of the aesthetic message, set forth in Sigismund Toduțǎ`s works. The analyses undertaken reveal that the main means of rhetorical expressions are the triple metaphors between the poetic text, musical discourse and stage movements. The immanence of their homogenous environments is examined along with their transcendence meant to enrich the ideational and emotional content of the work under consideration. The paradigm of the investigations is Sigismund Toduțǎ`s opera-oratorio Manole the Craftsman, based on the text of Lucian Blaga`s drama of the same title.

Keywords: triple metaphor; symbolic metaphor, homogeneous medium, dramatic text; musical discourse, stage movements, ideogrammic essentializations

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