Biblijos motyvai naujojoje lietuvių kompozitorių muzikoje

LTTyrimo objektas: ryškiausi lietuvių kompozitorių naujosios muzikos kūriniai Senojo ir Naujojo testamentų motyvais, sukurti 1990-2002 m. Tyrimo tikslas: išanalizuoti, kaip šiose muzikos kompozicijose reflektuojami Biblijos motyvai. Tyrimo uždaviniai: išanalizuoti ryškiausius muzikos kūrinius Biblijos motyvais ir išskirti sakralizuojamuosius elementus. Jeigu tokių nėra, panagrinėti muzikos kūrinių kompozicinę logiką ir tai, kaip Biblijos motyvų kontekste funkcionuoja tradicinės katalikybės muzikos formos, liaudiškoji choralinė ir avangardinė tradicijos. Tyrimo metodai: kompleksinis tyrimas - muzikologijos, hermeneutikos, religijotyros ir teologijos priemonės. Straipsnio struktūra: aptariami šie aspektai: 1) religiškumas ir sakralumas; 2) Biblijos interpretacijos Senojo Testamento tekstais arba motyvais; 3) Biblijos interpretacijos Naujojo Testamento tekstais arba motyvais.

ENTodays religious music oversteps the frame of the traditional religious music. Different works (compositions) on this theme correspond to the broader conception of religious music that includes not only different genres of the traditional church music, but also those works which while having strong ties with religian can be played not only in the churches, but also in concert halls. The aim of this report is not to disclair all new lithuanian sacred music, especially its phenomena of pagan rites or those that can be associated with new religious movements. We will pay attention to one of the most fundamental branches of the Catholic music - the most distinctive examples of the latest decades reflecting different themes of the Old and New Testaments. We will take into account the fact that the purpose of such music is not to serve to the liturgy, but as if to create the liturgy by itself and we will discuss the specific (theoretical - esthetica) problematic of composing such music. We will make more distinctive its inner and external measurements and different ways of functining in todays situation of the forms of music of traditional Catholicism: choral, folk and avant - garde traditions.Does the spirit of contemplation way of feeling will remain in those works? What’s the correlation between the word and the music? We will give deeper analysis of “Simeni kahotam al libecha...” by Anatolyj Schenderov for soprano, bass, percussion solo and orchestra (based on the text of “Song of Songs” by Old Testament, 1992). “Paratum cor meum...” concert for violin and piano solo, choir and orchestra (based on the texts from Psalms and Ecclesiast, 1995) and “Shma Israel” for cantor solo, the choir of men and boys, orchestra (the texts are canonical and of Vilnius Gaon Elijahu, 1997); the "Pieta” for two soloists, choir and orchestra (based on the text of New testament, 1998) by Algirdas Martinaitis; “The Melody in the Garden of Olives” by Onutė Narbutaitė for trumpet and two string quartets (2000) and example of radical avant - garde by Gintaras Sodeika “The Antology of Sounds nr.1.“ (based on the text of New Testament from the Introduction to the Gospel of St. Mark, 1996) to the choir of any type, the geneology of Jesus Christ in Arameic, Greek and Latin languages uniting the problematic Old and New Testaments as if speeks to us about the unseparability and cantinuation of the old Hebrew tradition and the new age of Christ.