XIX a. Lietuvos dvarų muzikos kultūra tendencijų kryžkelėje

LTGanėtinai sudėtinga ir įdomi buvo XIX a. vidurio Lietuvos dvarų muzikos kultūros struktūra. Joje sėkmingai gyvavo dviejų radikaliai priešingų stilių - racionaliojo klasicizmo ir jausmingojo romantizmo - bruožai. XVIII a. pabaiga, XIX amžius, tokie tragiški Lietuvai politiniu, kultūriniu, ekonominiu požiūriu, pasižymėjo muzikos sąjūdžio turiningumu. Skirtingų muzikos kultūros epochų ypatumų samplaika šiuo atveju panaši ne tiek į eklektišką rungtį, kiek į darnią visumą, atspindinčią nuoseklų vertybių perėmimo procesą. XIX a. vidurio Lietuvos dvarų muzikos terpėje vis dar labai ryškūs negrįžtamai praeitin nugrimzdusios LDK muzikos kultūros atgarsiai, kita vertus, akivaizdus neįtikėtinas tuometinės muzikos kultūros tendencijų aktualumas, visapusiška pažanga. [Iš straipsnio, p. 47]

ENThe Lithuanian branch of the Tyszkiewicz family had been famed since olden times not only for their collections of fine arts treasures but also for their patronage of music. Well-known clergymen, landowners and public figures had bands, orchestra and sometimes played music themselves. The patronage of music by the Count Tyszkiewicz family went through all the stages of styles typical of European musical culture and presented some splendid examples of musical culture from Baroque, Classicism and Romanticism times. In each case, one cannot help stating the stability of the traditions of musical culture, an ambition to reach artistic heights and a continuos shift of musical parameters, which was timely, indeed, in respect of the Western process of musical culture. With the democratization of the forms of musical patronage and musical movement in the 19th century, the progress of musical culture ceased to be a merit of only nobility. Nevertheless, musical culture of estates had the priority over other spheres of musical movement in respect of artistic and professional aspects. Musical enjoyments of nobility had little in common with a democratic musical culture of the 19th century, though there were cases of concrete mutual influence of these two layers of musical movement.Musical movement of an exceptional character, which was going on in estates, sometimes manifested itself as a kind of cultural opposition to the imperial policy of musical culture. Lithuanian children were taught music at musical centres of estates, young people were sent to complete musical studies at the institutions of higher education at the expense of their patronages; thus, estate music movement is significant in respect of the culture of Lithuanian national professional music. The orchestra of Raudondvaris estate, which existed during an inter-uprisal period, has been chosen as an example of the continuity of representational traditions of the Great Duchy of Lithuania and the peculiarities of the fusion of Classicism with Romanticism in the context of the spreading Romanticism culture in Lithuania. Romanticism took root in the musical culture fostered in the estates of Lithuanian patronages early, however, the conservative observance of traditions was never given up. A particularly tangible spiritual material heritage from the self-dependence times, the status of orchestra musicians and the representational purpose of orchestra witness in favour of Classicism culture, whereas, the repertory of orchestra, the instrumental composition and the changes in the aesthetic functions of playing music speak of the dominance of Romanticism. [From the publication p. 346]