Kūrinys ir jo šaltiniai - Biblijos deformacijos

LTTyrinėjimo laukas: lietuvių šiuolaikinių kompozitorių (M. Urbaičio, O. Narbutaitės, A. Šenderovo, V. Bartulio, A. Martinaičio, G. Sodeikos, R. Mažulio) kūriniai pagal Senojo ir Naujojo Testamentų tekstus ir autorių požiūris į tuos tekstus. Straipsnyje nagrinėjamos kūrybinės ir edukacinės funkcijos ir jų interpretaciniai gebėjimai Biblijos žodžio ir lietuvių naujosios muzikos kompozicijos sąveikos kontekste. Remiantis autorės tyrinėjimais šia tema, siekiama ne tiek apibendrinti, kiek formalizuoti pastebėtų reiškinių dėsningumus ir deformacijas. Išryškinami skirtumai tarp kūrybiškumo ir interpretatoriaus gebėjimo suvokti kūrybinio sumanymo esmę. Trumpai apžvelgiamos teksto deformacijų prielaidos ir daroma išvada, kad Biblijos deformacijos atsiranda dėl klaidingo arba paviršutiniško požiūrio į šaltinius, nepakankamai pažintos ar ignoruotos Biblijos žodžio tradicijos ir muzikos komponavimo priemonių naudojimo kūryboje ir edukacijoje.

ENThe whole complex of views, sacredness being one of the most significant, form the composer’s attitude towards the Bible texts. The expression of sacredness is the relation of the Bible word (verbum) and music (toni). Their interaction moulds the composer’s unique and personal standpoint to the chosen texts. The individual creative transformation of the Bible word reflects the master’s contemplation, basic eschatologie positions and priorities. In this respect “Celebrabo te, Domine" by M. Urbaitis (according to ОТ Psalms, in Latin, 1996) and his “North Jerusalem BooK' (according to ОТ, 1 Annuals - chronicles and Tobius books texts, in Hebrew, 2001) are analyzed. Individual contemplation is typical of the first piece of music, while the other can be characterised by the intersection of meanings. In Tres Dei Matris Symphoniae (according to the texts from O. and N. Testaments and St. Hildegard fon Bingen carols, in Latin, 2004) by O. Narbutaitė the symbolic contemplation is evident. In the works by A. Šenderovas “Simeni kabotam al libecha..." (according to the texts from ОТ Carols of the Carols in Hebrew, 1992), “Shma Israel” (in Hebrew, 1997) and “Parotum cor meum...” (according to ОТ Psalms and Eclesias book, in Hebrew and Latin, 1995) the associative, authentic and traditional thinking of the author in verbum and toni reciprocity is reflected.The oratorium “Unfortunate Job” according to Old Testament Job’s book motives by V. Bartulis is stuffed with metaphors. An extremely deep unity in the verbum-toni relation is achieved by composer A. Martinaitis in his “Pieta" (according to the texts of NT, in Latin 1998). The nonconformist Christ’s genealogy recitative version of Gospel by Mathew is presented by G. Sodeika in his “Ontology of Sound No I” (pieces in aramaic, Greek and Latin, 1996) with philosophical transformation of verbum-toni. The work by R. Mažulis “Cum essem parvulus" (according to the text of New Testament, in Latin, 2001) giving prominence to the words from the Bible has got the primacy of aspective speculation. The paper discusses the creative and educational objectives. Educational and creative functions and capabilities arc properly discussed. The deformations of the Bible Word (verbum) and music (toni) relation are analyzed referring to the above mentioned Lithuanian New Music on the Bible motives.