Julius Juzeliūnas ir Eduardas Balsys: to paties kelio skirtingos atšakos

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
Julius Juzeliūnas ir Eduardas Balsys: to paties kelio skirtingos atšakos
Alternative Title:
Julius Juzeliūnas and Eduardas Balsys: two branches of the same path
In the Journal:
Lietuvos muzikologija [Lithuanian Musicology]. 2018, 19, p. 114-120
Keywords:
LT
Lietuvių muzika; Nacionalinė muzika; Modernėjimas; Folkloras; Tonacinė sistema; Dodekafonija; Julius Juzeliūnas; Eduardas Balsys; Kūrybos procesas.
EN
Lithuanian music; National music; Modernization; Folklore; Tonal system; Dodecaphony; Julius Juzeliūnas; Eduardas Balsys; Creative process.
Summary / Abstract:

LTŠis straipsnis parengtas prof. Algirdo Jono Ambrazo (1934–2016) pranešimo pagrindu. Straipsnis gvildena dviejų lietuvių kompozitorių, amžininkų – Juliaus Juzeliūno (1916–2001) ir Eduardo Balsio (1919–1984) – estetinių pozicijų bei kūrybinio kelio ypatumus. Abu kompozitoriai buvo vėlyvojo sovietmečio, J. Juzeliūnas – ir Nepriklausomybės pirmojo dešimtmečio modernios nacionalinės muzikos kūrimo šalininkai. Skirtingų pedagoginių kompozitorių mokyklų (E. Balsys – Antano Račiūno, J. Juzeliūnas – Juozo Gruodžio) auklėtiniai skirtingai konceptualizavo pamatinę savo kūrybinio kelio viziją. Straipsnyje konstatuojama, kad nepaisant ilgainiui pasireiškusio komponavimo metodų skirtumo, savo esme J. Juzeliūno ir E. Balsio kūryba liko artimai giminingos: jų kūriniams būdinga muzikos emocinio įtaigumo ir racionalumo darna, formos monumentalumas ir išbaigtumas. Tautiniam savitumui išreikšti J. Juzeliūnas ir E. Balsys rėmėsi lietuvių liaudies muzikos turtais. Straipsnyje tyrinėjami abiem meistrams charakteringi individualūs komponavimo principai, dėmesį sutelkiant į skirtingą modernios tautinės muzikos sampratą bei realizacijos būdus. Daroma išvada, kad J. Juzeliūnas ir E. Balsys – vieni ryškiausių tautinio modernizmo atstovų lietuvių muzikoje – kūryboje žengė viena kryptimi to paties kelio skirtingomis atšakomis. Tiek savo kūryba, tiek vaisinga pedagogine veikla jie padarė įtaką tolimesnei lietuvių kompozitorių mokyklos raidai. [Iš leidinio]

ENThe article is based on the report by Prof. Algirdas Jonas Ambrazas. The aim of this article is to discuss the resolution of the issue of national individuality of music in the creative work of Julius Juzeliūnas (1916–2001) and Eduardas Balsys (1919–1984), two of the most prominent representatives of the Lithuanian compositional school. They both followed the principle formulated by Juozas Gruodis: to aim for national character of music through the use of modern means of expression. This concept of national modernism was implemented in the most mature works of Juzeliūnas and Balsys. The 1960s saw the emergence of Juzeliūnas’s original composition system based on non-tertian chords. The link with Lithuanian folk melodies was sought by integrating the characteristic supporting tones into the harmony texture. The twelve-tone series divided into several segments each consisting of an equal number of varying sounds became the starting point of harmony. In this way, Juzeliūnas’s system externally approached dodecaphony. Starting with Dramatinės freskos (Dramatic Frescoes, 1956), Eduardas Balsys began to use classic dodecaphony, which was shortly followed by the elements of sonorism and aleatoricism. Atonal structures were contrasted with thematicism, which rested on characteristic folklore intonations or even complete Lithuanian folk melodies. Balsys was critical of Juzeliūnas’s composition system and maintained that constructiveness of the works based on this system weakened their emotional impact. Both composers held differing attitudes towards certain manifestations of modern music. Even in his most modernistic works Balsys resorted to conflicting dramaturgy; the tendencies of minimalism were fundamentally alien to him. Meanwhile, Juzeliūnas had been gradually leaning towards variant developments of the thematicism of static dramaturgy.On the whole, however, the creative work of both Juzeliūnas and Balsys has much in common. The harmony of emotional suggestion and rationalism, and the monumentality and perfection of form are inherent in the most valuable works of both masters. To highlight national individuality, they did not stop at the use of external qualities of folklore but sought to reveal the inner character of folk music. As typical representatives of national modernism, Juzeliūnas and Balsys followed different branches of the same path and influenced further developments in the Lithuanian compositional school with their work and rewarding pedagogical activities. [From the publication]

ISSN:
1392-9313
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https://www.lituanistika.lt/content/80096
Updated:
2019-11-11 10:02:35
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