Ooppera Viimeiset kiusaukset Joonas Kokkosen säveltäjäkuvan heijastumana

Abstract

The purpose of this study is to map out Joonas Kokkonen's entire output up to the present time (1948-87) and to examine in particular the opera Last Temptations (1975) in the light of the composer's earlier production but also to trace its relationship to works composed subsequently. The problem is twofold. First, what exactly is the internal, and the surface structure of Last Temptations; and second, what theme materia!, and what features of the structure, are derived from the composer's earlier work? The hypothesis put forward about the internal structure is that Kokkonen' s works consist of five phases: a theme-statement, its reiteration, a further development of the theme, and a resolution of this into, finnally, a return to the beginning. (Exposition, re-iteration, development, metamorphosis, and return). Further, the opera's symbolism forms part of (is an integral part of) its internal structure. The surface structure is examined from three angles: the golden section; the dialogue between the dramatic and lyrical contents, and the musical density. The form of Last Temptations is approached mainly from the point of view of its developmental processes. The study is based on Ilkka Niiniluoto's theory of varieties of meaning (of signification) and Göran Hermeren's five variables for interpretation, together with some other theoretical models. Thus the approach of this study is basically multilateral. The study has shown that Last Temptations owes a great deal of its melodic and structural content to the composer's earlier work; and that the same motifs run through Kokkonen's music from one work to the next. The chromatic starting-point, the symphonic theme, the way in which the work develops (the pattern of development), the golden section, the horror-of-vacuum principle, the density of the music and the melodic field make up the greater part of our picture of Joonas Kokkonen the composer.