Nacionalumo kaita šiuolaikinėje muzikoje: Onutės Narbutaitės kūryba
LTStraipsnis skirtas nacionalumo sąvokos turinio kaitai XX amžiaus muzikoje, pagrįstas Lietuvos nacionalinės premijos laureatės O. Narbutaitės kūrybos analize. Postmodernistiniu globalizacijos periodu nacionalinio identiteto aktualumas neabejotinas, jis nagrinėjamas įvairiuose kultūriniuose kontekstuose. Straipsnio tikslas - atskleisti gilumines O. Narbutaitės sąsajas su liaudies muzika, jos semantika, palyginti liaudiškus ir profesionalios muzikos šaltinius, atskleisti ir specifišką kompozitorės muzikos liūdesį, melancholiją, kurie yra ir globalūs, ir išskirtinai lietuviški.
ENWith the increasing tendency towards globalization, its controversial nature inevitably becomes more apparent. On the one hand, it endangers the preservation of cultural distinctions. And on the other, the danger of them becoming extinct leads to the consequent growth of interest in multicultural phenomena. In this respect, the oratorio Centones meae urbi by Narbutaitė is the most proper example. It is dedicated to Vilnius, the authors native city. The ‘‘genre” of centones perfectly reflects the cultural variety of the city. Latin word cento means ‘‘a patch”. In the choice of this “genre” we can also see manifestations of the postmodern consciousness which has made us sensitive to the fact that the past is diverse, split, and heterophonic like a patchwork. It is clamed that the content of national identity has been changing a lot in the period of post-modern globalization and transnational interaction. One can see a contradiction in that the same national values, which are considered most important under conditions of colonization, tend to decrease in significance, or even acquire a negative connotation under conditions of freedom. I uphold the opinion that the national identity did not disappear: it simply changed its form. The content of Narbutaitės oratorio is undoubtedly patriotic. This does not, however, raise the Lithuanian identity above all other national identities but rather helps to expose it through the interplay with Polish, Jewish and other identities.Both by working with folk music and by employing the material created by other composers Narbutaitė always leaves a clear trace of individuality, recognizable in the scope of her intellect, masterfulness and talent, and in the authenticity of her style. Which is very distinctive even when utilizing stylistic allusions. What is created is “a secret intertext", and “an internal essential structure” - belonging only to Narbutaitė, who reconciles precise calculation with the spontaneous development of thought. This is why the opportunity appears to equalise the folk and professional music sources. Nevertheless, the relationship of Narbutaitės creative ego with folk songs or music by Mozart, Schubert, Chopin is new each time. By analysing the ‘essential internal structure’ of the compositions, which are not based on Lithuanian folklore, we attempt to find what makes Narbutaitė the Lithuanian composer. Irrespective of changes in time or expression, Narbutaitės works continue to retain the perceptible and specific sadness. The images of sorrow are represented differently in each single composition: transcendental and beyond reaching in Mozartsommer, desperate and burdened with life in Winterserenade; marked with mourning and presentiment of death (with certain relief at the end, though) in Rudens ritumelė. Hommage a Fryderik. However, in all these cases the symbiotic construction of musical material is not formal: Narbutaitė as if identifies herself with the cited authors and shares their fates.Melodija alyvu sode [Melody in the Garden of Olives] (2000) for two string quartets and trumpet definitely continues the list of Narbutaites compositions pervaded with images of deep sorrow (that prevail in her entire oeuvre) and death. The list would include Opus lugubre (according to the dictionary lugubre means gloomy, sad, touching and funeral) for string orchestra, Rudens ritumele [Autumn Ritomello. Hommage Fryderyk], cantata Kai ateina paskutine taikos diena [When the Last Day of Piece Comes], Ejimas i tyl¹ [Passing to Silence] for organ, Interludiumforflute, cello, and organ, Gesang (based on the fragment from Rainer Maria Rilke’s poem Die Weise von Liebe und Tod des Comets Christoph Rilke). Onute Narbutaite currently writes an oratorio to liturgical texts connected with the Virgin Mary (including Stabat Mater), a commission of the Frankfurt-on-Oder Symphony Orchestra. The common attribute for all compositions by Narbutaite is the individual attitude of the author to ‘events that appear in text, as well as their original formation and setting that determines the authenticity of these opuses. Thus, her national character lies in her individuality, while the latter is universal (both traditional and contemporary at the same time), what is inherent to every great artist. I uphold the opinion that postmodern music is not simply a repudiation of modernism or its continuation, but has aspects of both the break and the extension. Narbutaitė, like other modernists, tends to put her personal imprint on historical and folkloric references. She seems to be in contact with the music from different epochs, which she adopts to her personal idiom.
