Beethoveno įvaizdžio traktuotė ir semantinės jungtys Ramintos Šerkšnytės simfoniniame kūrinyje "Ugnys"

LTBeethoveno muzikos įvaizdis, įsitvirtinęs kaip Vakarų kompozicinės logikos ir visų teigiamų humanistinių vertybių, kurias įkūnija muzika, paradigma, suponuoja platų interpretacinių strategijų spektrą. Įvairiame ir prieštaringame šiuolaikinės Beethoveno artikuliacijos kontekste savita pozicija išsiskiria Ramintos Šerkšnytės kūrinys „Ugnys“ simfoniniam orkestrui (kūrinį užsakė Bavarijos radijo simfoninio orkestro vadovas Marissas Jansonas). Šerkšnytės simfoninė kompozicija yra išskirtinai įdomus tyrimo objektas. Straipsnio tikslas – įžvelgti ir apibrėžti istorinius, kultūrinius ir mitologinius šios muzikos kontekstus, savitą Beethoveno įvaizdžio traktuotę, Šerkšnytės kūrybos vietą Europos (post)moderniosios muzikos kontekste. Straipsnio uždavinys – analizuoti muzikinės medžiagos formavimo ypatumus, kaip ir kiek simfoninis kūrinys apima bei perduoda prasmių bei konvencijų, kokio pobūdžio informacija transliuojama šiuolaikiniam klausytojui. Šio darbo įžvalgomis siekiama atskleisti tuos pranešimus, iš kurių atsiranda kompozitoriaus sumanyto kūrinio koncepcija ir muzika, o straipsnyje išdėstytos mintys gali praversti ruošiantis atlikti kūrinį. Nagrinėjimui pasitelkiami fenomenologiniai, funkciniai ir semantiniai aspektai.

ENReflections on the music of Beethoven in contemporary composition are a symptomatic example. This paradigm inspires especially varied contemporary responses and a wide spectrum of interpretational strategies, employing the pluralism that is postmodernism (Louis Andriessen, Mauricio Kagel, Michael Gordon). In Lithuanian contemporary music of the last few decades we observe the tendency to absorb the musical reverberations of great composers of the past, and to provide new meaning through the paradoxical contexts of the present. These kinds of reverberations are abundant in the works of Vidmantas Bartulis, Algirdas Martinaitis, Onutė Narbutaitė, and Mindaugas Urbaitis. In this varied context we encounter the unique contribution of Raminta Šerkšnytė and her composition “Fires” („Ugnys“) for symphony orchestra. “Fires” premiered 2012 in Munich and Vilnius. It was commissioned by the Bavarian Radio orchestra’s director Mariss Jansons. Knowing that the work would precede Beethoven’s 5th symphony in the program, Raminta Šerkšnytė chose Beethoven’s signature introductory motive as the basis of her composition. It is important to note that this motif was not used as a quotation, but as a distinguishing segment, as an energetically and emotionally charged symbol. Šerkšnytė approaches Beethoven not as an historical implication, but as a universal psychological persona. Šerkšnytė needed to negotiate a dual assignment: to link the psychological portrait of Beethoven to the main idea of her piece – the symbolism of Fire (since 2000 Šerkšnytė has composed a series of symphonic works whose titles are related to the elements of nature and their phenomena).When she connected the original idea of fire with the commissioned theme of Beethoven, the composer formed a distinct dual conception for the piece. In her composition “Fires” Šerkšnytė succeeded in merging the differing poles of Fire and Beethoven through a singular semantic counterpoint. This is manifest through a process of motivic crystallization in the musical material – a “birth from fire” directly associated with burning, glowing, ashes, and volcanoes. This is linked to the psychologically based “Burn-out syndrome,” associated with exhaustion and depression that directly points to Beethoven’s drama of impending deafness. The musical fabric is not developed from the motif, but by heading towards the motif. The composition presents the process of the motif ’s crystallization until it reaches the form we now recognize. It is noteworthy that in Munich, “Fires” preceded the performance of the Fifth symphony. When comparing the two pieces there is an implied diptych: a peculiar type of prehistory to the Fifth symphony is created in the present. “Fires” has revealed the semantic ties of the Lithuanian composer to the international world of academic music as never before. These ties were fundamental in Šerkšnytė’s choice of approach regarding historicity and forms of expression.