Folkloras vargonų muzikoje

LTŠiame straipsnyje bandoma atidžiau pažvelgti į vieną reikšmingą XX a. muzikos kryptį - folkloro ir akademinės, konkrečiai - vargonų, muzikos susiliejimą, nulėmusį daugybę modernizmo pokyčių, jo giluminį atsinaujinimą, iš esmės kitaip traktuojant pripažintas vertybes. Straipsnio tikslas - atskleisti pirmapradžių šaltinių bendrumą ir jų dvasingumo specifiką, veikiančią lietuvišką meno raidą.

ENAs early as in the first half of the 20th century Lithuanian musical modemism strived to implement the idea of the national style. This is how the source of artistic uniqueness, through which Lithuanian music could contribute to the globai culture, was imagined. The Scandinavian countries, with their unique cultural provincialism, have always served as an example. However, folklore in Lithuania was perceived as a folk song or a folk dance, therefore it first flourished in choral music and later was incorporated in instrumentai music (ballet, piano variations, violin rhapsodies), though its path into a complete- ly different area - organ music, which was related to the universal (non-Lithuanian) liturgical tradition - was slow. The first Creative shifts are seen in an unexpected Creative outburst of Vytautas Bacevičius (1905-1970, USA); it was followed by performance of musical works for organ by the author himself in a concert held at the Kaunas Conservatoire (2 December 1934), where two Lithuanian songs (op. 22) were performed (Putinėli raudonasai’ (The Red Snowball) and Ir atlėkė sakalėlis (And the Falcon Flew In)). It was rather an exception, though nationality in Lithuanian music was perceived as a strategic aim of survival. In the second half of the 20th century, during Soviet occupation, folklore played an especially significant role in shaping the popular character of professional art, which was at first required by ideology, and later in providing a backbone for the further tracing of the roots. In this way the universality and etemity of one’s origins were substantiated; folklore even played here a certain sacral role as a substitute of the forbidden religious music.In the 1960s and 1970s folklore was successfully blended into and even helped shaping the resurgent modem Lithuanian organ music that could not have a religious character (Julius Juzeliūnas, 1916-2001; Teisutis Makačinas, b. 1938; concerts, organ sonatas). These works remain unparalleled examples of the invasion of folkloristic style (segments, rhythmicity in Lithuanian polyphonic songs sutartinės, cyclicity of ostinatos, trichord cell treads, and repetitive beat) into major forms for the concert organ. The discovery of folklorism and a constructive modernisation of the form (the brightest examples are vocal cycles by Feliksas Bajoras, b. 1934), which coincided with the epoch of ‘Organ Renaissance’ in Lithuania. As a result, a unique Lithuanian sacral universality of folklore and modemism as an altemative to the neoclassical development of the form was bom. The most interesting thing is that a new space for the development of the form is discovered here, e.g., minimalism, static dramaturgy which fully meets the criteria for organ music (evolutional variations of passacaglia, parallel development of pattems or closed ostinato circles). It is a mediation - a recitative, prayer or the toli of a bell announcing the entirety of the world - a universal key to contemporary Lithuanian organ music provided by folklore (Ad patres sonata by Bronius Kutavičius; ęauktys (The Herald) by Vidmantas Bartulis). Folklore, implanted in the mentality, continues to survive in creating post-industrial visions of Lithuanian avantgarde (Aporija by Šarūnas Nakas). Here it melts into the hierarchy of the ‘cosmic order’ of the organ and different parallel-existing systems and becomes the image of the defeat of chaos - “the ding of bells”. Thus, the role given to Lithuanian folklore in organ music is the primeval symbol of the universe.