Felikso Bajoro nacionalinės muzikos sampratos idiomos

LTStraipsnyje tyrinėjamas nacionalinės muzikos sampratos kontekstas XX a. muzikoje. Felikso Bajoro kūrybos tautiškumo diagnozė pagrindžia muzikos nacionalinio identiteto aktualumą. analise išryškinami psichologiniai bei technologiniai jo kūrybos aspektai, išskiriant būdingiausius nacionalinės muzikos kodus. [Iš leidinio]Reikšminiai žodžiai: Feliksas Bajoras; Nacionalinė muzika; Nacionalinės muzikos kodai; Codes of national music; Feliksas Bajoras; National music.

ENThe outset of Feliksas Bajoras' creativity coincided with the period of rapid modernization of Lithuanian music. Striving to remain "Lithuanian and at the same time individual", he set to explore Lithuanian folk songs with a thoroughness of a structuralism. The metonymically associated underlying structures of folk songs later diffused in his own sound material and became its law of being whereby the composer's idiom was endowed with meaning. It is not typical that Bajoras' philosophy of nationality is using not only sources of melody and rhythm of Lithuanian folk songs, but also the expression and manner of articulation of Lithuanian speech. The latter provoked the composer to perform and record his entire vocal output ranging from popular songs to operatic parts. The Lithuanian atmosphere in Bajoras' scores comes from his own family and study. Educated in the composition class of prof. Julius Juzeliūnas, he keeps in line with the intellectual neo-folkloristic traditions. The composer accepted many "folk things" - such as stepping into the sound, glissando, specifically disposition of accents which he has made stressed, prominenced, deformed, thus obtaining very modern coexistence of elements of his compositional texts (see: "Suite of Stories" (1968), "Wedding songs" (1977), "Grow Grow, Green Birch" (1978), "Calendar songs" (1982), etc.). Feliksas Bajoras' instrumental music ("Music for Seven" (1975), the violin sonata "Years Gone By" (1978-1979), etc.) show other musical elements of national mentality as well, such as contraposition of vibrato- non vibrato, where in the manner of folk singers he treats vibrato as emotional stress.It is not by chance that Bajoras perceived and introduced psychological and physiological aspects of folk singing, in this instance - taking notice that the highest sounds are sung by folk singers with more intensity. The latter would be interactioned with the specific Feliksas Bajoras' discovery of articulation of sounds by strings: glissando, in a ricochet, saltando, stereophonic play with four chords, unisoni and divisi which are full of the manner of a speaking character. Engraved with natural accents of speech, this form was embodied in Bajoras' vocal and instrumental music, and became remarkably susceptible to profound apprehension of reality. Sometimes bristling, coarse material of his compositions seems to burst with the crudeness of folklore; sometimes it immediately absorbs the despair of disillusionment. It can abruptly get inflamed with the imprudence of irony or became imbued with the foreboding of catastrophic century. Musical phrases imitate the form of oral narration by adding certain extra-musical elements that help to adjust the oddities of musical form. [Text from author]