Abstract
The aim of the research is to identify the rhythmic and intonational complexes, musical-rhetorical formulas, characteristics of choral texture and timbral dramaturgy in I. F. Stravinsky’s cantata “The Flood” (1962) that the composer uses to convey the eschatological biblical narrative through music. The study systematically examines the structure and content of each of the seven parts of the cantata – “Prelude”, “Melodrama”, “The Building of the Ark” (choreography), “The Catalogue of the Animals”, “The Comedy”, “The Flood” (choreography), “The Covenant of the Rainbow”. Scientific novelty lies in uncovering the specific ways in which the eschatological plot is reflected in Stravinsky’s creative work, focusing on the cantata “The Flood”, which has not received sufficient attention in scholarly literature. The research reveals that such aspects as musical symbolism, orchestration and timbral dramaturgy, symbolism of numbers and extramusical symbolism allow the composer to embody the biblical symbolism associated with the eschatological narrative of the worldwide flood.
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