Kai kurie lietuvių fortepijono meno istorijos puslapiai

LTTyrimo objektas: kai kurie lietuvių fortepijono meno istorijos kontūrai; pagrindinis dėmesys kreipiamas į kompozitorių, atlikėjų ir kritikų sąsajas. Tyrimo uždaviniai: apžvelgti, kaip per mūsų fortepijono meno istorijos šimtmetį funkcionavo minėtos sąsajos, aptarti pianistų požiūrį į nacionalinį repertuarą. Tyrimo metodai: istorinis aprašomasis metodas, leidžiantis minėtą problematiką pateikti buvusių įvykių kontekste.

ENThe years of our piano art theory line up into a solid facture. One way or another, this professional art has had its centenery. The history facts have incessently nestled up to each other, flickered and finally have densely filled the age which has just left us. The paper tries to hold a general argument in the piano art fields: creation, performance, critique. The focus of attention is their links and functioning in different periods. When approaching this theme the personalities of J. Naujalis, M. K. Čiurlionis distinguish themselves by their standpoint (uniting and representing in all the above mentioned fields) towards the piano art affecting strongly its development. Their traditions have been later pursued by B. Dvarionas, V. Bacevičius, S. Vainiūnas. Creation and performance having separated, the situation has changed. A great number of piano art developments used to depend on intercommunication of composers and performers. It has caused a qualitatively different stage of development. The performers still find abode in Čiurlionis creative work. The pianists of different generations have been learning on his music. Recent developments reveal the ripening of qualitative changes. The initiatives taken by the R. and Z. Ibelhauptas, P. Geniušas to perform the works by the composers of young and elder generations appear to be natural and promise the vital functioning of piano art.