Grigališkasis choralas XIX a. Lietuvoje: tarp tradicijos ir užmaršties

LTStraipsnyje nagrinėjama grigališkojo choralo padėtis Lietuvoje XIX amžiuje. Aptariamas šio fenomeno supratimas, jo paplitimas bei funkcionavimo ribos. Didžiausias dėmesys teikiamas turimų šaltinių aptarimui ir analizei, daugiau telkiantis ne tiek į jų kiekį, kiek į struktūrą, turinį, praktinį jų naudojimą liturgijoje. Pagrindiniai taikomi metodai - aprašomasis, lyginamasis bei analitinis.

ENThe history of the gregorian chant in the 19th century is usually dealing with the so called restoration of the chant, which began with the re-establishment of the benedictine monastery in Solesmes by Dorn Prosper Gueranger, while on the other hand and from another prospective another endeavour was made by the so-called Regensburg school. The present article, however, deals with the different set of questions, although not attempting to get more into the problem of the interpretation of the plainchant of that period (as is doing, for instance, Polish scholar Bartosz Izbicki), as well as the possible ripples of the movements mentioned above. Rather, the principal aim of the paper is to clarify the situation with the plainchant as such in the 19th-century Lithuania. This is an intriguing issue, since at the beginning of the 20th century, Lithuanian church musicians used to speculate that the Gregorian chant at this time was considered as a kind of novelty, thus presuposing that it should have disappeared in Lithuania namely during the 19th century. Therefore, the actual condition of the plainchant in the 19th-century Lithuania is of special interest. The present article, hence, first turns to the sources preserved, and after the selection and examination of a number of both written and printed sources comes the following conclusions. 1. As various sources disclosed the Gregorian chant or rather a plainchant (or cantus choralis, as it was called in the sources of the age) was used in Lithuania during the entire 19th century although on the lesser level as in previous ages.Some traditions were preserved and kept through entire period, namely that of the plainchant notation, which was the variety of the late gothic notation, very much like the one used in the chant books prepared and published in the mid-17th century by Sigismund Lauxmin, and used further in the printed liturgical and chant books in Grand Duchy of Lithuania. 2. The historical circumstances were also of high importance. Although at the beginning and the first part of the century the important role in the reservation of the chant was still played by various monastic orders, which even attempted to keep some traditions from the past age (as the cantus fractus chants for the ordinary of the Mass), the closure of the monasteries, especially intensified by tsarist regime in the second half of the 19th century had a great impact on the change of the general usage of the plainchant as well as its tradition and understanding. In the second half of the century the principal sources becomes the small printed chant books (called Cantionale Ecclesiasticum), which were intended for the use in the entire ecclesiastical province of Poland, to which Lithuanian dioceses also belonged. Thus, a kind of unification of the plainchant was inevitable. 3. As a result of all the processes mentioned above, the usage of the plainchant was reduced as well as the understanding of what chants were supposed to be considered as plainchant. The most spread corpus of chant in the 19th century appears to be Office and Mass for Defunct. [...].