Lietuvos klasicizmo laikotarpio vargonų determinacijos problema

LTStraipsnio tikslas - išnagrinėti klasicizmo idėjų įtaką vargonų menui, pagrjsti klasicistinių vargonų ypatumus, suformuoti klasicistinių vargonų apibrėžimą. Analizuojama Lietuvos klasicistinių vargonų prospektų stilistinė evoliucija, tipologiniai ir stilistiniai bruožai, sąsajos su gretimų ir Vakarų Europos šalių vargonais. Atskirai nagrinėjamas klasicistinių vargonų, kaip savarankiško meninio stiliaus instrumento, egzistavimas. Aptariamos kamerinio orkestro populiarėjimo ir vargonų, kaip svarbiausio barokinio muzikos instrumento, sunykimo priežastys.

ENNeoclassicisni came to the Lithuanian organ culture quite late and slowly. At the end of the 18lh century the prolonged rococo was often more superior and attractive. From the 1760s more active construction of new organs is observed in Lithuanian churches lasting approximately until 1820. The late baroque, rococo and ncoclassicist features add and mingle together in the organs of this period. During the second half of the 18th century the so-called Vilnius Organ School was formed in Vilnius under the influence of several dynasties of organ masters. Its representatives, the masters Zell (Zelle, Cell), Scheell (Schoell, Scholl), Jantzon (Jantzen, Janson) built organs in a large area of the Grand Duchy of Lithuania. The baroque organ tradition brought by these masters was not forgotten later, during the neoclassical period. Thus although at the end of the 18d' - the first half of the 19'1' century the appearance of organ prospects was based on Neoclassicist aesthetics, the instruments preserved the late baroque features. This is obvious in the organ dispositions of Raguvėlė, Sudervė, Giedraičiai, Dotnuva, Žagarė and other churches. Artistic innovation found it more difficult to penetrate the more remote areas of Lithuania, thus the provinces remained conservative. The Neoclassicist features are hardly present in the prospects of organs built during the first decade of the 19[b century in Seda, Joniškėlis, Kantaučiai and Lieplaukė churches. The structure of prospects belongs to the late baroque style, carvings arc rococo and the instruments are small, one manual, around ten-voice baroque positives.However, during the first half of the 19th century, the organ gave up the role of the leading instrument to the chamber orchestra that came from Western Europe. It was more convenient for the Lithuanian aristocracy due to its mobility, since it could play not only in churches, but also in palaces; at the same time it was a popular musical novelty of fashionable society. The new Neoclassicist aesthetics made the organ fall to the level of secondary instrument, and the architects' aesthetic attitudes destroyed the unity and synthesis of the prospect and the instrument, thus laying foundation for the disintegration of the organ. At the end of the Neoclassicist period the organ evolved and was reborn as a new symphonic instrument during the era of Romanticism.