Tautinio tapatumo apraiškos lietuvių vargonininkų kūryboje 1894-1949 metais

LTPastaruosius du dešimtmečius Lietuvos mokslo bendruomenėje vykstant diskusijai dėl tautiškumo formų, raiškos ir sklaidos įvairovės Lietuvoje XIX-XX a., iškilo klausimai, kokią vietą tautiškumo samprata užėmė to meto Lietuvos vargonų mene ir ar gausu buvo tautinės savimonės apraiškų lietuviškoje vargonų mokykloje. Šis straipsnis skirtas tautinio tapatumo raiškos paieškoms lietuvių vargonininkų kūryboje. Jame įvardijami tautiškai reikšmingi XX a. pirmosios pusės lietuvių vargonininkų kūriniai, analizuojamos priežastys, stabdžiusios tautinio savitumo siekį jų kūryboje. Tyrimo metodas: istorinis tyrimas. Gilinantis į tautiškumo sąvoką ir analizuojant tautiškumo sklaidą to meto Lietuvos bažnytinėje muzikoje bei vargonininkų kūryboje neapsieita be sociologinio tyrimo prieigos.

ENExpression of nationality in organist‘s creation. The first Lithuanian Mass (1866) created by Juozas Kalvaitis (1842-1900) had special significance for the spread of nationality, professional growth of ecclesiastical music and generally for the overall art. In the national regard the Mass by Juozas Kalvaitis is meaningful as the first large cyclical piece of work in Lithuanian text that quickly spread throughout Lithuania. It was frequently performed and in most churches replaced the tradition of Polish chanting. Due to purposeful ignorance of Lithuanian language at that time Lithuanian mass for mixed choir with organ accompaniment "Po kojų tavo sosto" (1889) ("Under the Feet of Your Throne") by Mykolas Račas (1829-1895) has not been printed, but his hymns of elevating nature created for jubilees of priests or name-days were played in churches. Common songs and chants for choir were being written by J. Dryja-Visockis (1848-1916). As there was insufficient ecclesiastical repertoire, alongside large ecclesiastical compositions by Česlovas Sasnauskas (1867-1916) separate parts of masses and evensongs, chorale litanies, supplications, calendar graduals and offertories were also created. These works are distinguished by compositional and aesthetic values, individuality and stylistic features characteristic of creation by Česlovas Sasnauskas which make them different from German "regensburg" and Polish works of ecclesiastical music.Ecclesiastical creation by this composer (at the end of the 19th century it was kept in manuscripts) who lived and worked in St. Petersburg was rarely performed in Lithuania as well as his works for organ solo that were important in their artistic value. These compositions were included in the concert repertoire of Lithuanian organists only during the first decades of the 20th cenlury. "Lietuviškas bažnytinis giesmynas" ("Lithuanian Ecclesiastical Hymnal") (1906) published by Juozas Naujalis (1869-1934) was a significant Lithuanian source of ecclesiastical music. Besides the majority of responsorials, offertories, ecclesiastical chants and hymns, Lithuanian masses and chants by Juozas Naujalis were performed in Lithuanian churches. Some of those compositions were created on the basis of Intonation Dictionary of Hymns by Antanas Baranauskas. Juozas Naujalis preludes, postludes, fugues and trios for organ which required an organist to have minimal professional preparation were performed in the first public concerts of organists.