Muzikos, tapybos ir poezijos sąsajos M.K. Čiurlionio variacijose "Easacas"

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
Muzikos, tapybos ir poezijos sąsajos M.K. Čiurlionio variacijose "Easacas"
Alternative Title:
Connections among music, paintings and poetry in M.K. Čiurlionis' variations "Easacas" (VL 275)
In the Journal:
Tiltai. Priedas. 2001, Nr. 8, p. 126-130
Keywords:
LT
Lietuva; M. K. Čiurlionis (1875-1911); Serijinė technika; Struktūralizmas; Variacijos.
EN
Lithuania; M. K. Ciurlionis (1875-1911); Musical series; Structuralism; Structuralizm; Variacy; Variations.
Summary / Abstract:

LTStraipsnyje analizuojamos M.K. Čiurlionio variacijos „Easacas" (VL 275). Variacijos „Easacas" yra lyginamos su kitomis Čiurlionio kompozicijomis, kur ryškūs serijinės technikos bruožai. Taip pat ieškoma paralelių tarp to laikotarpio Čiurlionio tapybos ir literatūrinės kūrybos. Todėl analizuojamas paveikslų ciklas „Kibirkštys" ir literatūrinė „Psalmė". Atskleidžiami šių kūrinių struktūriniai ryšiai, daroma išvada, kad jie pagrįsti muzikinių variacijų „Easacas" tema. Keliama hipotezė, kad ciklą „Kibirkštys" turėjo sudaryti keturi paveikslai. [Iš leidinio]

ENThe use of series in Čiurlionis' music has been analysed up to now on the ground of two cycles - variations "Sefaa esec" and "Besacas". However, there is a cycle of variations on the theme "Easacas" in the manuscripts dated January 8, 1906, Druskininkai (Čm 21, p. 210-211). It is also based on the musical series. The cycle was not finished and published. The autographs of this cycle of variations, the circumstances of the appearance of the composition, the structure of the theme and the way of using it in the composition are analysed in the article. The cycle "Easacas" is compared with other literal cycles of variations and an attempt to write the music according to the musical alphabet. The parallels between Čiurlionis' painting and poetry of that period are also looked for. That is why the rhymed "Psalm" (1905-1907?) and the cycle of the paintings "Kibirkštys" (Sparks, 1906) are analysed. The key words are singled out, the sequence of repetition is established and it is compared with the theme (series) of musical variations. The address "Viešpatie" (Our Lord) is likened to the constant A note of the music series.The words "forest", "field" and "river" are interpreted as equivalents of other notes of musical series (E, E flat and C). When analysing the picture cycle, the sparks - the spots of light - are joined. This curve is likened to the variable notes (E, E flat and C) of the musical series and to the words of the psalm (forest, field, river). The spot of light at the bottom of every picture is interpreted as a constant, ostinate, unmoving centre corresponding to the note A and the word "Viešpatie" (Our Lord). That is why the curve of every picture is joined to the curve of other picture at the angle of 90°. A hypothesis is raised about the fourth picture that would connect the chains of sparks into a closed graph fully. A conclusion is drawn that the picture cycle "Sparks" and the rhymed "Psalm" are grounded on the theme (series) of musical variations "Easacas". All three works clearly show the attempts of synthesis of arts in the creative work of Čiurlionis already in 1906. [From the publication]

ISSN:
1648-3979
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https://www.lituanistika.lt/content/41186
Updated:
2018-12-17 10:56:33
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