M. K. Čiurlionio simfoninės poemos "Miške" analitinės interpretacijos

LTStraipsnis skirtas M. K. Čiurlionio simfoninės poemos "Miške" muzikinės formos problematikai. Atsižvelgiant į šio kūrinio temų santykius ir tonacinio plano ypatumus, nurodomos būdingos paplitusių jo analitinių interpretacijų klaidos. Atskleidžiama racionali ir savita poemos kompozicinė sandara, iškeliami jos privalumai ir trūkumai, ryšiai su XIX a. romantinės muzikos formos tendencijomis. [Iš leidinio]Reikšminiai žodžiai: Muzika; Muzikologija; Simfoninės poemos; Romantizmas; Neoromantizmas; Kūriniai; Kompozitoriai; Mikalojus Konstantinas Čiurlionis; "Miške"; Vladas Jakubėnas; Konradas Kaveckas; Vytautas Landsbergis; Interpretacijos; Analizė; Music; Musicology; Symphonic poems; Romanticism; Neoromanticism; Composers; Mikalojus Konstantinas Čiurlionis; "In the Forest" ("Miške"); Vladas Jakubėnas; Konradas Kaveckas; Vytautas Landsbergis; Interpretations; Analysis; Lithuania.

ENThe aim of the article is to dwell upon some stereotypes of musical form analysis in the context of the popular symphonic poem "In the Forest" ("Miške") (1900-1901), composed by M. K. Čiurlionis (1875-1911), the founder of Lithuanian symphonic music. The analysis of the poem's subject relations and its tonal scheme makes us to reject the ternary form's model, ascribed to the musical composition by its first researches (K. Kaveckas), or the suggested "free fantasy" concept (Vl. Jakubėnas). Having thoroughly analysed M.K. Čiurlionis' symphonic poem, V. Landsbergis rightly perceived the modified form of sonata. However, he did not interpret clearly the peculiarities of its usage and the functions of separate parts of the form. This article considers M. K. Čiurlionis' Symphonic Poem "In the Forest" ("Miške") as the form of a sonata with full mirror recapitulation, excluding an independent part of themes’ adoption. It is substituted by intensive thematic development during all the musical composition, especially being evident in the secondary part of the recapitulation. The presented scheme of the form (e. g. No. 10) shows a proportional arrangement of themes and sections in both sides of the central axis separating exposition and recapitulation. Successively maintained principle of mirror recapitulation also gives the symphonic poem a secondary, seven-part concentric form (ABCDCBA). Whereas functional relations between the main tonalities of the symphonic poem form a prominent two-part structure which reminds the so-called dual form (H. Erpf) (e. g. No. 11). M. K. Čiurlionis peculiarly reflected the tendencies, which became evident in one-movement prominent musical compositions of the 19th century composers-romantics (F. Liszt, R. Wagner, F. Chopin), that is monotematic, turn for mixed forms, especially for the synthesis of sonata and concentric forms.The tendency towards manifold scheme, multi-significance of forms' apprehension in these musical compositions as well as in M. K. Čiurlionis' poem are also related to the socalled compositional modulation (V. Bobrovski), which can cause an illusion of ternary divisibility. Original as well as logical choice of M. K. Čiurlionis symphonic poem's architectonic and dramaturgy testify that the composer is a broad-minded person and that he reached artistic maturity and mastery. However, inadequately estimated proportions of the parts of the form (too high concentration of recapitulation) and the dominance of the constant episodes over the non-constant ones from the point of view of tonality, which is especially evident towards the musical composition's end, give an undesirable impression of music's static character and prolixity. The performers-conductors of the symphonic poem become faced with a special task - while properly revealing the real internal music structure, programmed in the musical composition's text, with the help of interpretative means they have to soften some drawbacks of the form. [From the publication]