Chamber music of Szilárd Mezei and differentiated congruence in its composing layers (II)

A look at the morphology of the musical language of the Vojvodina composer Szilárd Mezei reveals different relations among its composing layers. On a selection of fifteen of Mezei's chamber compositions, the basis of their compositional structure was abstracted and typologically classified into four fundamental ways of coexistence of textural layers. These modalities are defined as differentiated congruence. The chosen syntagm does not refer to the mathematico-logical meaning of congruence , but to the resemantization of that notion in the context of the fact-object reality of musical space-time. Although none of these four types of congruence is specific only to the musical world of Szilárd Mezei, the fact that they appear in the composer's work somewhat proportionally indicates specific ideological aspirations included in the poetic plane of the work

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