Vidmanto Bartulio oratorija "Nelaimėlis Jobas"

LTStraipsnyje nagrinėjamas vienas etapinių V. Bartulio kūrinių - oratorija „Nelaimėlis Jobas“, parašyta pagal Senąjį Testamentą. Aptariamas kompozitoriaus santykis su pasirinkto teksto mintimi, jos aktualumu šios dienos pasaulyje, veikėjų moralinės pozicijos ir muzikos kalbos atitikimas. Gilinamasi į garsinių įvaizdžių ir emocinės logikos skleidimąsi formoje, analizuojama būdingų tembrų ir teminių grupių kaita.

ENA great number of reasons may be given why during the period of Lithuanian Independence Revival the sacred ideas in art do not find an adequate expression in the present creative works. Religious music marked out by a sacred touch is coming back in this ungrateful period. The occupation has not only broken off religious traditions, it has substantially affected people's consciousness. Vidmantas Bartulis endeavours to highlight it with his music. He reveals that man is in want of either a spiritual attitude or, on the contrary, a superficial disposition towards ossified aspects. Philosopher Antanas Maceina says in his "Job's Drama": "We all are a Job, greater or smaller". This human dimension has stimulated the composer to take a rather democratic way of expression - the oratorio. The "Unfortunate Job" oratorio has been matured for over two decades. It seems as if this story has been waiting when the composer acquires more experience and decides how to materialize it. V. Bartulis has created his music according to the Latin text with negligible cuts. Job's drama is relevant to both person and society. In spite of the prevailing misery motif the oratorio is fairly lucid, sometimes merging into camera music and proceeding to the classical splendour and fairness canon.The oratorio structure is formed keeping to the Old Testament vision. Frequent tempo shifts of the history narration are characteristic of the oratorio. Sometimes it heightens the chromatic, in other cycles, rhythmic scheme focusing on distressed Job, whereas later it turns to a neutral tone narration of a third person. In this way, the composer manages to present synchronically diverse points of view, preconceived notions. With the first notes listener's attention is "chained" by unusual "drilling" timbre, a condensed torment theme which runs four times in the oratorio. Its oriental sound possesses Japanese music colour and its instrumentation is to be associated to the Jericho'es trumpet on the Last Judgement Day. The composer presents this sound because of the coming immoral and monstrous pact. The intonation effect conveying the wandering, sliding doubt is purposeful in the oratorio, therefore it is full of vocal and instrumental glissando effects. Constant fluctuation of the tunes illustrate Job's turning-points, doubts and fluster. Nowadays, when people are allergic to moralizing, any lecture is to be presented in the way it will be heard. In this case the main hero - Job has been reasonably chosen. He does not moralize, lie himself is being moralized, and he brings compassion becoming identical to the audience.