Lietuviškojo modernizmo magistralės ir Naujosios Vienos mokyklos idėjų paraštės. (Lithuanian)

The main lines of Lithuanian modernism and margins of the New Viennese school-based ideas. (English)

LANDSBERGIS, Vytautas, 1932-; BALAKAUSKAS, O.

The formation of Lithuanian professional music took place in the context of the emergence of musical modernism and its principal representations of the first half of the 20th century. Analysing the phenomenon of the peripheral musical culture, the article asks: How does a concrete national culture absorb the paradigm of modernism? What can the national cultures that did not influence the main experiences of 20th-century modernism and avant-garde tell us about modernism? After reviewing peculiarities of twentieth-century's Lithuanian music, which resounded Schoenberg school's disseminated technological ideas, we can state that Lithuanian composers were not just passive twelve-tone technique successors. In particular, the idea of ordered or serialized elements and transpositions was distinctively and independently interpreted. In Čiurlionis' piano music of his later creative period (1904-1909), linear polymelodic tendencies gradually emerge: the compositional texture opposes the homophonic harmonic conception and moves closer towards the coexistence of melodies (lines), layers, tonic models or extended tonalities (his preludes for piano VL303, VL335, VL338, VL339, etc.). It seems that Čiurlionis filled the staffs of his sketches of piano works as a painter, structurally modeling and multiplying in an ornamental way the structural details of the compositional text (an ostinato, the intervals, textural pictures and "clusters" of intervals). Symmetrized segments that reported melodic tones (soprano, alto, tenor) were a model in play by M. K. Čiurlionis in his Variations cycle (VL 257, op. 15 No. 2) in 1904. Their schematic semblance forms a "magic square" - a palindrome distinguished by partial symmetries. It is supposed that the same palindromical scheme, practised three times in a play by M. K. Čiurlionis (VL 257, op. 15 No. 2), later was repeated in a more complicated form of Besacas Variation, (VL 265, 1904-1905) in the plan of the fourth part of row or microseries transpositions. In his Piece (Variation) 4, Čiurlionis created the plan of transpositions of the row treated as a basso ostinato, unique for his time, which was discovered by Vytautas Landsbergis (1980). Basso ostinato (microseries), transposed six times, is extrapolated from its successive pitch, i. e. the level of each transposition systemically starts from the successive pitch of the row. The mentioned principle of the functioning of basso ostinato in Čiurlionis' piece reminds of the technique of transpositions of a series used in the post-war avant-garde compositions all parameters of which were serially controlled (multiple serialism and total serialism, the technique of superseries or überreihe). M. K. Čiurlionis used not the intention of 12 non-repetitive pitches but the equivalence of the letters of words and musical tones significant to him. Čiurlionis' discovery of the mentioned principle of transposition of a row coincided with the beginning of the history of the New School of Vienna. The composer who accepted and most consistently developed the method of composing with "Twelve tones related only to one another" (according to Schoenberg) was Osvaldas Balakauskas. He worked out his own compositional system and grounded it theoretically in his Dodekatonika (published in 1997 in Poland). The title Dodekatonika (Dodecatonic) in some way emphasizes what was already evident in the 3rd edition of Schoenberg's Harmonielehre - Twelve-Tone Tonality ("Tonalität einer Zwölftonreihe", Harmonielehre, Wien, 1922, S. 488). The generating principle of the system is based on the Pythagoras' Perfect Fifth. Thus, the fifth (2:3) is a minimal harmonic opposition (according to Balakauskas) in the harmonic projection of 12 fifths (PQ).… [ABSTRACT FROM AUTHOR]

Atskaitos tašku imant Naujosios Vienos (A. Schönbergo) mokyklos skleidžiamas technologines naujoves, straipsnyje gvildenama, kaip lietuvių muzika įsiterpė į Europos modernizmo procesus. M. K. Čiurlionio ir O. Balakausko kūryba leidžia kalbėti apie du modernistinių idėjų rezonansų laikotarpius - „prieš‟ ir „po‟ A. Schönbergo mokyklos. Bandoma įrodyti, kad lietuvių kompozitoriai nebuvo vien tik pasyvūs struktūrinių bei technologinių naujovių vartotojai, bet kartu siūlė savita jų traktuotę. Ypač originaliai Lietuvoje buvo kuriama ir transformuojama eilės (serijos, mikroserijos) transpozicijų / transpoliacijų idėja. Tyrinėjime taikomi komparatyvistinis, analitinis ir interpretacinis metodai. [ABSTRACT FROM AUTHOR]

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