Romualdas Apanavičius Polish influence towards (Vytauto Didžiojo universitetas) the Lithuanian traditions of playing the ethnic musical instruments
Introduction
lthough since the old times Lithuania and Poland have been related not Aonly by close neighbourhood but also by former common Statehood and Catholic belief, nevertheless the questions of ethnomusical reciprocities remain yet not analysed in the studies of researchers. The Polish influence towards Lithuanian traditions of playing the ethnic instruments was mentioned only by Albertas Baika who considered that the influence of Polish culture that penetrated into Lithuania after the Lublin union in 1569 has left its signs in instrumental music as well. The most characteristic examples are the dances of Polish origin Krakoviakas and Mazurka, and Oberekas with Mazurpolkė as well.1 Discussing rythmics of the Lithuanian folk songs Jadvyga Čiurlionytė supposed that the rythmical formulas consisting of three parts and belonging to the later period were borrowed from Poles.2 Comparing the rye-cutting songs that were sung on both sides of the border of both states, Rimantas Sliužinskas notices their common features and even identity although he docs not speak about the influences.3
1 Л. Baika, Kaimo armonikos, Vilnius 1994, p. 88. J J. Čiurlionytė, Lietuvių liaudies dainų melodikos hruoiai, Vilnius 1969, p. 250. J R. Sliužinskas, Lietuvių ir lenkų liaudies dainų sąsajos: ntgiapjutcs giesmės, Til tai, l'ricilas: mokslo darbai, t. 26: 2005, p. 217-230. Romualdas Apanavičius
The author of this article refers to the data stored in the archive of Ethnomusic Institute4 gathered during the expeditions between 1987 and 2002 (1531 questionnaires and about 4000 records), and having compared them with the data given by other researchers tries to trace the Polish influence towards Lithuanian traditions of playing the ethnic instruments.
Areas of spreading of the ethnic musical instruments
Referring to the data from the museum exhibits, archives and historical sources it can be stated that the ethnic musical instruments5 in Lithuania in the 18th century - first half of the 20lh century were spread in two areas: 1) Northwestern and 2) Southern and Eastern. Though there were wind instruments -švilpynė (whistle), birbynė (reed-pipe, or a pipe with a horn), and trimitas (trompet) - used in the whole area of Lithuanian nation, in addition a multi-string instrument kanklės (Fig. 1) was known in the Northwestern Lithuania.
4 The Institute of Ethnomusic - the non-govcrnmcntal science institution, registered by Ministry of Jusiticc of Lithuanian Republic in 1992 as a public organization that unites researchers and teachers of ethnic music. The author was a director of the Institute in 1992- -2001 and he led expeditions in 1987-1996. 3 Musical instruments that arc related to the heritage of a nation or an ethnic group and that appeared together with a nation or an ethnic group. Polish influence towards the Lithuanian...
Because this instrument had never existed in the Southeastern Lithuania, yet in 1992 the author of this article had named the Northwestern Lithuania as a "kanklės" culture area and the Southeastern Lithuania as a "wind-instrument" culture area6 (Fig. 2).
4 - Suvalkiečiai I ; I
The "kanklės" culture is spread from the Northwestern Lithuania through all Latvia, Estonia, Northwestern Russia towards Finland and Carelia, and the "wind-instrument" culture is spread through neighbouring Poland, Byelorussia and Russia towards the Ural mountains. In the Northeastern part of Aukštaitija (the Northeastern part of "kanklės" culture in Lithuania) the collective instruments - skudučiai, ragai, daudytės - were used. Skudučiai is the collection of untied pipes that are similar to the Pan flutes, ragai are the group of wooden trompets numbering from four to six, and daudytės are two or three long wooden trompets. The polyphonic music - instrumental pieces and sung sutartinės - was performed with these instruments. Sutartinės consist of independent perplexing voices that gives consonances in intervals of seconds. The sung sutartinės were played by the Northeastern Aukštaitija Aw;Ä7dv-players as well. In other areas of spreading of kanklės - in the Western Aukštaitija, Žemaitija and Suvalkija - there were played the melodies of European dances and ethnic or literature songs with these instruments.
* R. Apanavičius, Halių clnoinslivmaitolo^ija, Kaunas 1992, p. 10-17. Romualdas Apanavičius
Traditions of usage of the ethnic instruments were related to the work, rites, and celebrations of village community. Instruments were used for the purposes of signalization, pasturage, hunting, calendar fests, and rarely during the wedding and burrial, also in the rites of the Catholic church.7 The playing of ethnic instruments became out of date in the 1920-1930-ties during the land reform in the Republic of Lithuania when villages started to be settled into single settlements. Community customs and playing the ethnic instruments disappeared together with disappearing of community pasturage, collective-type and other work traditions as well. In the 19lh century - beginning of the 20,h century in Lithuania, as well as in neighbouring countries, there appeared a tradition of playing not only ethnical but also modified instruments. Under the influence of European culture the shapes of ethnic instruments have changed: bodies of instruments became larger, more strings were added (for kanklės), more holes were made (for švilpynė, birbynė), the ways of production changed, new instruments of production came into tradition. Nevertheless the spreading and the aim of the modified instruments had almost no difference to compare with the traditional ones: they remained widespread in the same areas and they did not turn into instruments of leisure time and dance music. The spreading of the ethnic and modified instruments should be explained with the stability of other ancient traditions. Namely songs in the Northern and Western Lithuania were of multi-voiced style, and songs in the Southern and Southeastern Lithuania were of the mono-voiced style (Fig. 3). According to the data provided by the author, these styles are completely opposite and they could not emerge one from another because they are based on different scales of obertones of natural acoustic gama. That is why Lithuanian ethnic multi-voiced music as well as that in the whole world is based on the major key mode, and mono-voiced music is based on the minor key mode.8 Similar regional differences can be noticed when comparing the image ofkerdžius (pastor) - the main user of wooden trompct. The image of
7 R. Apanavičius, op. cit., p. 26-49; Kościół katolicki i litewskie ludowe instrumenty muzyczne, [in:] Polska i Litwa-duchowe dziedzictwo w Eunųiie, red. ks. M. Chmielewski, Homo meditans, t. XXVI: Lublin 2005, p. 259-269. * R. Apanavičius, Etninė muzika. Teorijos klausimai, Darbai ir dienos, 2001, t. 25, p. 7-38. Polish influence towards the Lithuanian...
an old and partly handicapted but wise and full-minded pastor was known in the Western and Northern Lithuania while the image of the pastor with psychical disability was known in the Southern and Eastern Lithuania9 (Fig. 4).
Fig. 4. Keixliius (pastor) in Lithuania: I - normal, 2 - not normal
There exist a larger number of similar laws for spreading of folklore, mythology and ethnology matters and facts in Lithuania.
9 R. Apanavičius, Pirmykštės bcmlivomaičs išrinktasis? Keixliius ir jo įvaizdis buiiirčs Eumpojc, Darbai ir dienos, 1999, t. 11 (20), p. 81-93. Romualdas Apanavičius
European musical instruments
European musical instruments10 started to appear in Lithuania after the 16lh century although certain data exist that smuikas (violine) could be used already since the 14lh century." Since the 16lh century cimbolai (cymbals), dūdmaišis (bag-pipe), lyra (lyre)12 have been mentioned, since the 17lh century - bandūrėlis (mouth-trommel), since the beginning of the 19lh century - citra (zittern), mandolina (mandolin), balalaika (Russian stringed instrument), gitara (guitar), since the middle of the 19lh century - basetlė (folk stringed bass instrument)13 and armonika (folk accordion).14 According to the data of expeditions the spreading of European instruments could be defined as following: smuikas was known and widely used in all Lithuania, cimbolai in the Southern and Eastern part, dūdmaišis in the Eastern part, armonika in the Western and Northern part of Lithuania. The spreading of violin was influenced by its usage as of the main melodic instrument in the instrumental ensembles and by a lively tradition of violin • production15 (Fig. 5).
Fig. 5. Smuikas (violin) in Lithuania
10 The European musical instruments that have originated in a certain region and spread in Europe and in the other continents of the European culture as a mean of expres sion of intcrcullural relations. " G. Kirdicnė, Smuikas ir smuikavimas lietuvių etninėje kultūroje, Vilnius 2000, p. 9. 12 J. Bretkūnas, Biblia, tatai esti wissas Schwcntas Raschtas Lictuwischkai pcrgūlti- tas (manuscript), Karaliaučius, 1580, t. 6, p. 260. " M. Baltrėnicnė, R. Apanavičius, Lietuvių liaudies muzikos iusrumentai, Vilnius 1991, p. 156-163. 14 A. Baika, op. cit., p. 23. 15 G. Kirdicnė, op. cit., p. 88-95. Polish influence towards the Lithuanian...
This instrument was equally accepted and used both in the Southeastern (where mono-voiced ethnomusic prevailed) and in the Northwestern Lithuania (where multi-voiced ethnic songs were sung). Almost an equal distribution of violin in two different areas of Lithuanian ethnic music shows that it had taken root in the tradition of playing which was mostly related to fests, entertainment and customs of wedding already before the 20lh century. Dūdmaišis was known mostly in the Eastern Lithuania (Švenčionys district) and it was played also in other parts of the country and even in the Lithuania Minor (the Northeastern part of East Prussia). Cimbolai were used mostly in the Southern and the Southeastern Lithuania (Fig. 6), in the area of mono-voice ethnomusic.
Fig. 6. Spreading of cimbolai (cymbals)
Armonika was used in the Northern and the Western Lithuania until the Second World War in the area of multi-voiced ethnomusic (Fig. 7).
Fig. 7. Armonikas before the Second World War; 1 - German and Austrian, 2 - Petersburg type Romualdas Apanavičius
In the Northern and the Western part of the country there were known armonikas of German and Austrian type, and in the Northeastern part - Russian Petersburg type armonika. This instrument was being used both alone and in the instrumentic ensembles. The reason why armonika was played alone was its possibility to play both melody and its accordance at the same time. Armonika was played in the instrumentic ensembles together with violin, mandolin, even clarinet and cornet.16 In the Southern and Eastern Lithuania, the area of mono-voiced ethnomusic, armonika was a big rarity until the Second World War.17 According to A. Baika's opinion, in the 1920-1930-ties armonika was used in the Southern and Eastern Lithuania as well because its spreading was influenced not only by the neighbourhood of other countries but also by living conditions. More expensive Petersburg armonika, koncertina (concertine) and bandonija (bandoneon) were used in the economicaly stronger Western and Northern Lithuania while in the poorer Southeastern Lithuania (Dzūkija) the usual instrument became Vienna type armonika which was cheaper.18 Nevertheless this statement proposed by A. Baika was not confirmed by the data of the expeditions of the Ethnomusic Institute organized in 1992-1996. Until the Second World War armonika was a big rarity not only in Dzūkija and the Eastern Aukštaitija where living standard of peasants was lower due to the poor land but also in Suvalkija (Southeastern Lithuania) which was famous for its high economical level.19 The reason of that most probably was not the economical conditions but traditions of the mono-voiced ethnic music that did not allow to spread the multi-voiced instruments. Most favourable instruments in this region were violin and sometimes cimbolai as well. After the Second World War armonika had spread also in the Southern and Eastern Lithuania (Fig. 8). It was played both alone and in the instrumentic ensembles. The spreading of armonika was caused not only by political reasons (because of the occupation by USSR Lithuania
16 Archive of the Institute of Ethnomusic (EIA) (cases and descriptions arc not indicated), The data from inquests of the folk musicians of Žemaitija and Aukštaitija in 1987-1991. " EIA, The data from inquests of the folk musicians of the Eastern Aukštaitija, Dzūkija and Suvalkija in 1992-1996. 18 A. Oaika, op. cit., p. 39. " EIA, The data from inquests of the folk musicians of the Eastern Aukštaitija, Dzūkija and Suvalkija in 1992-1996. Polish influence towards the Lithuanian..,
Fig. 8. Armonikas after the Second World War: 1 - German, Austrian, Russian, accordeon, 2 - Petersburg type armonikas became a closed country to neighbouring Poland and Germany) due to which Russian armonikas became prevailing but also by inner ethnocultural interrelations. The ancient ethnocultural areas started to merge because of increasing people migration, settling and finally under the influence of radio and television. Armonikas took root in the Southern and Eastern Lithuania, the area of mono-voiced ethnomusic, together with spreading of multi-voiced literature songs. Nevertheless until the very 1950-ties beside armonika there were also used cimbolai, and violin was a favourable instrument until the disappearing of the traditions of playing the ethnic music in 1964-1966. Armonikas were used in fests, entertainment, and wedding customs in Lithuania. The tradition of playing in instrumentic ensembles in Lithuania lasted until the very 1964-1966 when the dance music fashion changed and it was begun to play not the European but electronic musical instruments. The traditional European instruments became no more needed for cntertaintment, fests and wedding as well as gifted self-educated musicians and people of agriculture and handicraft professions that played those instruments. Their place was occupied by professional musicians that played electronic instruments. The European musical instruments were played in ensembles almost in all Lithuania although in Dzūkija (Southern Lithuania) in the beginning of the 20"' century one (rarely two) violin was played. According to A. Baika, inhabitants of this region Dzūkai could not afford hiring bigger ensembles for wedding as Žemaičiai, Aukštaičiai and Suvalkiečiai usually did.2"
•'" A. Baika. op. cit., p. 79. Romualdas Apanavičius
Nevertheless according to the data of expeditions the ethnomusical factors were more important than economic ones because rich Dzūkai similarly hired one or two violin players for wedding, and "kapela", "kapelija" ensembles were not popular in that part of the country.21 In the beginning of the 20th century in Žemaitija, Aukštaitija and the Northern Suvalkija instrumental ensembles comprised of one or two violins, or a clarinet, or a violin and a clarinet, armonika, and basetlė (or a drum). In Dzūkija, the Eastern Aukštaitija and even in Suvalkija (especially its Southern part in neighbourhood of Dzūkija) violin (or two violins) were accompanied by cimbolai and sometimes a small drum (or basetlė).22 It can be observed according to the composition of ensembles that in the area of the multi-voiced ethnic culture (in Žemaitija, Aukštaitija and Northern Suvalkija) they usually included armonika (though sometimes in Žemaitija there was played without armonika), and in the area of the mono-voiced ethnic music (Dzūkija, Eastern Aukštaitija and Southern Suvalkija) there was no armonika included and usually cimbolai were played. Thus it can be assumed that in the beginning of the 20,h century the traditions of playing ethnic instruments were highly influenced by the differences of the ethnic music that affected even the composition of ensembles.
Repertoire
The European national dance music was played mostly with the ethnic and European musical instruments in the second half of the 19* century - the first half of the 20,h century. The ethnic and literature songs were played with the ethnic instruments as well. As a rale the melodies of songs were not played with the European instruments and only dance music was performed with them.23 It can be only guessed what music exactly was performed with the ethnic musical instruments before the middle of the 19,h century because there were also improvisations performed with kanklės, švilpynė and birbynė. It is not clear if they comprised the main part of the repertoire because there exist no reliable data. Pastors blew sound signals with trimitai nevertheless they also played melodies of the
21 EIA, The data from inquests ofthc folk musicians of Dzūkija in 1994-1996. 22 EIA, The data from inquests of the Lithuanian folk musicians in 1987-2002. 21 Ibidem. Polish influence towards the Lithuanian..,
European national dances.24 Only in the Northeastern Aukštaitija where an isle of natural polyphonic ethnic music was spread, vocalic sutartinės or polyphonic instrumental music was played with kanklės, skudučiai, ragai, daudytės, two or three švilpynės and birbynės still in the first half of the 20th century. The European national dances were performed with švilpynės and birbynės here. The European national dances were played with the ethnic instruments usually not for dancing purposes but for. the personal pleasure, family members, and neighbours. It was a very rare case that the ethnic instruments were played together with the European instruments in ensembles of instrumental dance music, and it happened, when there was a lack of some European instrument. In such cases kanklės substituted armonika, švilpynė - a violin, birbynė - a clarinet or a cornet. Nevertheless such cases were only rare exceptions. The repertoire of the European instruments and their ensembles consisted of dances that could be sorted into five groups. They were Lithuanian, Latvian, Eastern Slavonic, Central European and Polish. Lithuanian dances were Gyvataras, Jonkelis, Karklai, Noriu miego, Suk suk ratelį, Rugeliai, Kadagys, Suktinis and other. They originated from the dances accompanied by singing, circles and games that were performed in weddings, family and calendar fests and youth entertaintment during the earlier period before taking root of the European instruments. "According to the historical data and to the melodies of dances and games themselves, it can be stated that as deeper we go into the past, as smaller role is expressed by music instruments in ritual dances and at the same time vocal music gets as bigger meaning though the latter appears to be of not so complex content."25 Lithuanian dances were performed with the European instruments and their ensembles already since the middle of the 19"' century. These dances belonged mostly to the repertoire of the dance music of Žemaitija and Suvalkija (Fig. 9). There were noticeably less Lithuanian dances performed in Aukštaitija and Dzūkija.26Traditionofthc Lithuanian dances inthcsecondhalfofthc 19* century - first half of the 20'h century should be explained according to the
1Ą M. Katkus, Balanos gadptč, Vilnius 1965, p. 58-59; E. Dulaiticnė-Glcmžaitč, Ktipi.skčnųscnovč, Vilnius 1958, p. 283. " J. Čiurlionyte, op. cit., p. 151. M EIA.Thc data from inquests of the Lithuanian folk musicians in 1987-2002. Romualdas Apanavičius
Fig. 9. Dances: 1 - Lithuanian, 2 - Latvian, 3 - Central European and Polish, 4 - Eastern Slavonic
peculiarities of Žemaitija ethnographic region and its close relations to the ancient ethnic values and pre-Christian believes. Relations of Suvalkija to Žemaitija are especially close because after the Southwestern border of the Grand Duchy of Lithuania was defined according to the Mein Treaty with the Crusaders' State in 1422, Užnemunė (especially the Northern part of today Suvalkija) was settled by inhabitants of Žemaitija.27 Especially big number of paralleles with Žemaitija can be noticed in the Northwestern Suvalkija28 where peculiar kanklės of Suvalkija similar to those of the Northwestern Žemaitija had formed.29 Thus Lithuanian dances in the repretoire of the European instruments of Žemaitija and Suvalkija witness about the perplection of the ancient ethnic and new common European traditions. The dances that were taken from the ethnic traditions and that were accomponied by singing had acquired a new shape of playing with the European instruments. The Latvian dances Skrodelis, Gailingis etc. were played mostly in the Northwestern Žemaitija and Northwestern Aukštaitija, especially in the disctricts of Kretinga, Skuodas, Mažeikiai, Akmenė, Joniškis, and Pakruojis that are neighbouring with Latvia.30 These dances were reshaped from the
" Uinemunó, [in:] Lietuviškoji tarybinė enciklopedija, Vilnius 1983, t. 11, p. 602- -603. " Lietuvių etnografijos bmočai, Vilnius 1964, p. 70, 225, 258-259, 267-268, 278, 334-335,344-345, 349-350, 369,396,509. :9 R. Apanavičius, Kanklių kilmė ir baltų bei Pabaltijo finų etnogenezė, Mokslas ir gyvenimas, 1986, no. 11, p. 18-19. 30 EIA, The data from inquests of the folk musicians of the North Western Žemaitija and North Western Aukštaitija in 1987-1988. Polish influence towards the Lithuanian.., sung dances and were already played with the European instruments in the second half of the 19lh century the same way as the Lithuanian ones. These dances had not spread wider than in those districts that are neighbouring with Latvia. Their tradition was influenced not only by the mutual relations between both nations but also by the Latvians among whom there were musicians as well that lived in the border area of Lithuania. One of them was the kanklės-player Juozas Jaunzemis (1856 - about 1938), who lived in Alkiškės village of the Mažeikiai district near Akmenė and played modified kanklės that were spread in Latvia's ethnographic area Kurzeme in the second half of the 19lh century - beginning of the 20* century. The instrument of this kanklės-player is in the ethnographical museum of Kretinga now.31 There exist no data if he played Latvian dances as well because he had recorded 4 European dances Kadrilis, Valsas and 2 Polka 's in the phonograph disc for the Lithuanian folklore archive in 1937.32 The dances of the Eastern Slavonic origin -Aleksandrovas, Subotas, Padušečka, Kochanočka, Korobočka, Kazačiokas and other - are spread mostly in the Northeastern Lithuania in the area where Petersburg armonikas were being used. Although these dances were known in all Lithuania nevertheless they were played mostly exactly in the area of spreading of those armonikas mentioned above. The Eastern Slavonic dances appeared in Lithuania after the First World War together with the soldiers that completed their service in the Tzar army. These dances were borrowed by the folk musicians among whom there was a big number of Russian Old Believers that immigrated into the Northeastern Lithuania from the Duchy of Moscow in the 17Ul century and lived densely in this region of Lithuania. Lithuanian musicians of this region had learnt to play the Eastern Slavonic dances from the musicians of the Russian origin.33 These dances could have seemed to be very attractive because one can found Kazachas or Kazokas in the especially conservative repertoire of the Northcastcn Aukštaičiai kanklės-phycrs which almost all consisted of played variants of vocal sutartinės, and these dances were played by Martynas (1824-1919) and Petras (1865-1962) Lapienės who lived in Kviriškės settlement of Biržai district. Petras Lapienė had recorded the
31 R. Apanavičius, V. Alcnskas, V. Palubinskicnc, E.VirbaSius, N.Visockaitė, Seno sios kanklčs ir kankliavimas, Vilnius 1994, p. 59. 31 Ibidem. 33 EIA, The data from inquests of the folk musicians of the North Eastern Aukštai tija in 1989. 26 i Romualdas Apanavičius
dance Kazokas together with 11 sutartinės into the phonograph disc of the Lithuanian folklore archive in 1937.34 The biggest part of the repertoire of the European instruments and their ensembles consisted of dances that were of the Central European origin. They were polka, valsas, Padispanas, Kadrilis, Leilenderis, Greičpolkė, Šocas, Šus tas, fokstrotas, tango. The marches that spread in the wedding ceremonies were especially popular. Polka took the main place mostly in the repertoire of the instrumental ensembles, then valsas and other dances followed. Beside the march, polka was especially important in the wedding ceremonies during which the European instruments and their ensembles played since the second half of the 19л century.35 Other dances were played mostly in entertaintment and they took root in Lithuania also in the second half of the 19th - beginning of the 20lh century. Kadrilis, Leilenderis, Padispanas, Greičpolkė, Šocas, Šustas as well as polka and valsas were danced in all Lithuania. In the 1920-1930-ties musicians played dances fokstrotas and tango that were in fashion at that time. Thus the dance music of the Central European origin was spread equally in whole country and there can be noticed no regional differences or peculiarities (Fig. 9). The dances of the Polish origin Mazurka and Krakoviakas were also especially popular in Lithuania. They were danced in whole Lithuania as the dances of the Central European origin and their music comprised a significant part of the repertoire of the instrumental ensembles. Other Polish dances Kujaviakas and Oberekas almost did not take root in entertaintment of the Lithuanian village although they were known for the folk musicians and were played sometimes. Both regarding the Central European dances and Polish ones no regional differences can be noticed thus it is obvious that they were spread equally and were favourite in whole Lithuania already in the second half of the 19'h - beginning of the 20"' century.
Directions of influences
It is obvious from the spreading of the European instruments, their ensembles and the main repertoire - dance music - that Lithuania was affected by strong cultural and musical influences from neighbouring
14 R. Apanavičius, V. Alcnskas, V. I'alubinskicnc ct all., op. cit., p. 50. " ШЛ, The data from inquests of the Lithuanian folk musicians in 1987-2002. Polish influence towards the Lithuanian..
countries which had mixed with the ancient ethnic music traditions and the latter were even ovecome. Historical sources show that the instruments of the foreign origin started to spread in Lithuania since the 16* century although as it was already mentioned a violin could spread also in the 14th century. Already in the 15lh century Jan Długosz stated in his history of Poland written in Latin Historiae polonicae libri XII that among the musicians of Anna Aldona the daughter of Gediminas The Grand Duke of Lithuania there were ones playing tympana, sambucae, fiolae (i.e. drams, whistles, violins).36 According to this fact Gaila Kirdienė thinks that it is possible to assume that this source speaks not only about the Lithuanian professional playing but also about the folk playing of violin.37 Nevertheless it could be said that there is no basis to speak about the Lithuanian folk traditions of playing violin which could have roots in that century because chronicles and historians mention only musicians that played in the big palaces. Since the 16lh century the violin and playing violin in Lithuanian folk traditions has been already mentioned in the Lithuanian Metric,38 also by a pastor Jonas Bretkūnas from the Lithuania Minor,39 since the 17th century - by the author of the first Lithuanian dictionary Konstantinas Sirvydas40 and by a pastor Theodor Lepner from the Lithuania Minor.41 Since the 19* century it had been discussed wider by an ethnographist Liudvikas Adomas Jucevičius (Jucewicz - Ludwik z Pokiewia),42 a historian Simonas Daukantas (Jokyb's Laukys),43 an archaelogist and ethnographist Eustachy Tyszkiewicz,44 an ethnographist and folklorist Oskar Kolberg,45 folklorists
36 Л. Jonynas, Lictiivhifolkloristika ik XIX a., Vilnius 1984, p. 33. 37 G. Kirdicnė, op. cit., p. 9. 3" II. Пазима, Белорусские народные музыкальные инструменты. Струйные, Минск 1982, р. 6. 39 J. Bretkūnas, op. cit., p. 260. K. Sirvydas, Pirmasis lietuvių kalbos žodynas, Vilnius 1979, p. 505, 511 etc. 41 T. Lcpncr, Der Pivuscbe Littauer, Danzig 1744, p. 35,94. 42 Wspomnienia Żmudzi prze: L. A. Jacewicza, Wilno 1842, II. 48; Litwa pod wzglę dem stamźytnycb zabytków, obyczajów i zwyczajów, skreślona przez Ludwika z Pokiewia, Wilno 1846, p. 198-199. 43 Buda Scnowcs - Lctuwiu. Kalniem) ir Żamajtiu iszraszzę Pagal Scnowes Rusztu Jokyb 's Laukys, Pctropilic 1845, p. 53, 58, 69. 44 Ii. Tyszkiewicz, Birie. Rzut oka na przeszłość miasta, zamku i onlvnacvj, St. Pe tersburg 1809, p. 23. 43 O. Kolberg, Pieśni ludu litewskiego, [in:] Zbiór wiadomości do antmpologii kra jowej, Kraków 1879,1. 3, p. 167-230. i Romualdas Apanavičius
and priests Antanas Juška (Juškevič)46 and Christian Bartsch,47 and ethnographists Franz Oskar and Helen Tetzner.48 Thus it can be assumed that the traditions of playing violin in the Lithuanian village had been forming since the 16lh century. Regarding the name of this instrument smuikas that had been most widely used it can be borrowed from the Western dialects of the Eastern Slavs,49 most probably from nowaday Byelorussia. According to the linguist Kazimieras Būga, the word smuikas is of the Byelorussian origin corresponding their смык 'violine; wooden harrow'.50 The latter (second) meaning shows that Lithuanians could borrow only the name itself not necessarily the musical instrument from the Eastern Slavs because the linguist Zigmas Zinkevičius states, that the old borrowings with the diphtong HI instead of the Slavonic ы can trace to the very 10lh century,51 i.e. that time when the violin was not spread in Europe yet. In the end of the 16lh century J. Bretkūnas mentions the name of the violin in the Lithuania Minor skripka and the musician skripkenykas what shows that the name of the instrument and the instrument itself which was already widespread in Europe could be borrowed from Poles (compare Polish skrzypka, skrzypica 'violin'). Moreover, the terms скрыпица 'violin' and скрипъки 'violin players' are among the inscriptions of the Lithuanian Metric in 1565 and 1582.52 The Polish version of appearing of the violin in Lithuania is more or less credible having in mind that the musical instrument could be borrowed together with the word because the data from folklore and expeditions confirm that the names skripka, skripyčia were used evenly in the whole country together with smuikas, smuiką, and the musicians were named not only smuikininkas but also skripkorius." Still in the 17lh century a lexicologist K. Sirvydas assumed that these names that were spread among people were of the Polish origin and he compared Lithuanian skripyčia, skiypičia
46 Л. Juškevič, Smtb'mė rėdą Veh'inyčiu Lietuviu, surašyta per Antaną Juškėvičę 1870 mėtusa, Kazanė 1880, p. 39-76. 4' Cli. Bartsch, Dainų balsai. Melodien litauischen Volkslieder, Heidelberg 1889, t. 2, p. XI, XII, XIV. 4* F. und H. Tctzncr, Dainas. Litauische Ihlksgesänge, Leipzig 1897, p. 72. 4' Z. Zinkevičius,Lietuviųkalbosistorija,[t.]2: lkipirmtn'ąraštų, Vilnius 1987,p. 72. 50 K. Būga, Rinktiniai raštai, Vilnius 1959, t. 2, p. 56. " Z. Zinkevičius, op. cit., p. 71-72. 52 II. Mantua, op. cit., p. 109. " EIA, The data from inquests of the Lithuanian folk musicians in 1987-2002. Polish influence towards the Lithuanian..,
to Polish skrzypice, and the name of violin player skripyčinykas to Polish skrzypec.54 In the 16lh century dūdmaišis and lyra were mentioned by J. Bretkūnas. In the end of his manuscript of the Bible translation he gave a list of the instruments that were used in Lithuania (i.e., in Lithuania Minor - R. A.) Nomina instmmentonun quorum usus in Lituania and names Duda ragine, Murenka and Jurana. The first two are explaned in German as 'eine grosse Sachpfeiffe' and 'eine kleine Sachpfeiffe', i.e., 'the big bag-pipe' and 'the small bag-pipe', and Jurana as 'Leier', i.e. 'lyre'.55 The German explanations of the name of the bag-pipe do not necessarily show, that this instrument has appeared in the Lithuania Minor through Germans. The bag-pipe was widely used in Europe and in neighbouring countries to Lithuania, as well as in Poland already in the 16й1 century. In Poland in the 16* century the governor of a village should pay that same tax for every bag-pipe player as for a water-mill, and in the 18lh century bag-pipes were widely played in the inns.56 Since the 15th and the 16th century the bag-pipe together with other instruments is mentioned in the translations of the Western European literature pieces into Old Eastern Slavonic language, and though the bag-pipe is known in Byelorussia surely only since the 18й1 century57 it is possible that it could be used also in that time. According to the data provided by Inna Nazina the bag-pipe was widespread mostly in the North Western Byelorussia - Vitebsk region, the Northwest and East of Minsk region and in the North of the Grodno region.58 Exactly in the Vitebsk, Grodno and the Northwest of Minsk region there was prevailing the Catholicism and a strong Polish influence was exerted through the Church and estates. The comparison of the Byelorussian name of the bag-pipe дуда (duda), Polish dudy, as well as the term dūda, Ruska duda used in the Eastern Lithuania (such name is given by L. A. Juccwicz in the middle of the 19lh century59), Labanoro dūda (Labanoras - a place in the Švenčionys district) and the lenn Duda ragine given by J. Bretkūnas yet in the end of the 16"' century makes
54 K. Sirvydas, op. cit., p. 505,846. " J. Bretkūnas, op. cit., p. 260. S. Olcdski, Polskie instrumenty ludowe, Kraków 1978, p. 16. " II. Пазика, Пелорусские народные мушкачьные инструменты. Саиознуча- щис, ударные, духовые, Минск 1979, р. 115-116. ' Ibidem, р. 120. " L. Jucevičius, Rastai, Vilnius 1959, p. 212-313. Romualdas Apanavičius
it obvious that all these names are of the same origin (most possible of the Polish origin) and this instrument should appear in Byelorussia and Lithuania from Poland and from nowhere else. The bag-pipe should appear in the Eastern Lithuania through Byelorussia (the term Ruska duda given by L. A. Jucewicz should have a meaning that it is not from Russia where it was not popular but most probably from nowadays Byelorussia), and in the Lithuania Minor from Poland through the Southern part of Prussia mostly inhabited by Polish Mazurians. The term Duda ragine 'a trumpet with a horn; a trumpet from a horn' given by J. Bretkūnas could be also an explanation of the German Sackpfeiffe but not a translation from German thus the Polish version is even more credible. The other word Murenka is also a word of the Polish origin only it is mentioned no more in any source as a name of the instrument. Lyra is an instrument also widely used in Europe and neighbouring countries around Lithuania. According to the opinion of Vladas Bartusevičius it is not possible to say which type of the lyre from four ones known in Europe was mentioned by J. Bretkūnas in the end of the 16lh century because there was given its non-Lithuanian name Jurana. "Nevertheless it can be guessed that the spinning or multi-stringed lyre could be popular in Lithuania as well as in whole Europe in the 16lh century. It is known that spinning lyres existed in separate places of Lithuania also sometimes in later times".60 In Poland lira korbowa could be used since the 14"' - beginning of the 15"' century as an instrument of wandering musicians, beggars, and later - as a folk music instrument. Since the 18lh century lyre sounded even in estates.61 In Byelorussia lyre is known since the second half of the 17lh century. In the lists of the urban professions at that time one can find lyre-players and professional beggars.62 In Lithuania lyre was also played mostly by wandering musicians and quite frequently by blind beggars. The instrument was named more frequently ryla not lyra, and the musicians rylininkai. These names correspond to the Byelorussian variants of lyre роля, рыля which according to the opinion of I. Nazina have appeared as the result of metathesis - the changing of places between syllabcs or
м V. Bartusevičius, Liaudies meno baruose, Vilnius 1983, p. 65-66. 61 S. Olcilski, op. cit., p. 13. " И. Назина, Белорусские народные музыкальные инструменты. Струнные, Минск 1982, р. 83. Polish influence towards the Lithuanian.. sounds as a result of the assimilation that is not so rare in dialects.63 Thus it is most credible that lyre appeared in Lithuania from Byelorussia where it spread most probably from Poland. This instrument could spread in Lithuania Minor both from Germany as well as from Poland through the above mentioned East Prussian part inhabited by Mazurians. Cimbolai was mentioned by J. Bretkūnas in the end of the 16й1 century, by the lexicologist Philip Ruhig in the middle of the 18th century, by Ch. Bartsch in the end of the 19"' century, and it was described wider by F. and H. Tetzner which gave its picture. The latter German ethnographists said that this instrument which was used by most nations was found also in Lithuania.64 In Poland cymbals were spread mostly in the South and the East of the country,65 and in Byelorussia - in Vitebsk region, in a bigger part of Minsk region (exept the Southern part), in Grodno region, also in the districts of Mohilev region neighbouring to Minsk region. Cymbals were spread also in some districts of Gomel region.66 The earlest data about cymbals in Byelorussia are from the 16* century and they could be brought here by wandering musicians which were known in Poland already from the 15,h century.67 Thus cymbals appeared in Byelorussia through Poland, and it spread into the Southern and Eastern part of Lithuania neighbouring to Byelorussia from this country. Cymbals in the Lithuania Minor could spread both from Germany as well as from Poland. Citra, mandolina, gitara were also the instruments that were used in the Lithuanian ethnic music since the 19lh century. They had appeared in Lithuania from the Central Europe with no doubt through Poland which reminded a certain springboard for spreading of the European instruments into Lithuania since earlier centuries. Balalaika is the Russian folk instrument (its origin is unclear and most probably is not Russian but Oriental) which was used in some places of the Northwestern Žemaitija and even was produced by local masters. Balalaika could be known since the beginning of the 20°' century when it was brought by Lithuanian soldiers that participated in the war between Russia and Japan.68
M Ibidem, p. 72. м V. Bartusevičius, op. cit., p. 18-26. M S. Olcdski, op. cit., p. 13. м II. Иалша, op. cit., p. 54. '•' Ibidem, p. 55. ''" П1Л, The data from inquests of the folk musicians of the Western Žemaitija in 1987. Romualdas Apanavičius
Basetlė, a folk type contrabass, was known in the Lithuanian folk music playing since the middle of the 19lh century. Basetlė was widely used in Poland and since the 18lh century it was known in Byelorussia where it was spread in Minsk, Grodno and Brest regions.69 Basetlė appeared in Lithuania either from Byelorussia where it was spread with no doubt from Poland and was used in the area of Byelorusian Catholics or directly from Poland because the Byelorussian, Polish and Lithuanian names of these instruments coincide. It was used a term basetlė, basedla in whole Lithuania that corresponds to Byelorussian басэтля, басэдля, басэтня and Polish basetla wielkopolska, and the name basas, bosas spread in the Northwestern Lithuania corresponds to Polish basy, basy kaliskie, basy podhalańskie. Byelorussian басэтля descended from the South German dialect Basset, Bassetl and it appeared in Byelorussia from Poland, where the ancient type of violoncello had been called by this name since the 18lh century.70 Armonika is mentioned in Lithuania only since the middle of the 19lh century. A. Baika thinks, that armonika appeared in Lithuania immediatelly after it was invented and it became known for the village people around the 1830-ties. "The geographic situation had influence to a quick spreading of it. The neighbour of Lithuania in the West was Germany - the cradle of these instruments. The majority of the harmonicas that appeared into Lithuania through Klaipėda, Riga and Liepaja ports were of German and Austrian production."71 Armonika could appear in the Lithuania Minor most probably from Klaipėda port that belonged to Germany (East Prussia) because F. and II. Tetzner underlined in their work in 1897, that armonika was a newly appeared instrument.72 Nevertheless armonikas appeared into Lithuania that was a part of the Russian Empire and was named by researchers the Great Lithuania from Latvian cities Riga and Liepaja - not from neighbouring Klaipėda. This was decided by the political reasons because Klaipeda belonged to the neighbouring state while Latvian ports belonged to the same Russian Empire. Although in those Latvian cities as well as in Klaipėda the majority of the inhabitants consisted of Germans. Thus the appearance of armonikas in Lithuania in the middle and the
" И. Назииа, op. cit., p. 115. 70 Л. Cliybiński, Wybór prac etnograficznych, Warszawa 1961, t. 2, p. 320. 71 Л. Baika, op. cit., p. 23. 7J V. Bartusevičius, op. cit., p. 26. Polish influence towards the Lithuanian... second half of the 19lh century should be related with the influence of the German culture. The Petersburg armonikas as it was mentioned above were spread mostly in the Northeastern Lithuania. These armonikas were produced in St. Petersburg since 1880-ties and they were the instruments of German accordance. "Because they had a good sound and a beautiful appearance, harmonica players liked them and they competed with the similar Vienna harmonicas."73 Due to the fact that one played dances of the Eastern Slavonic origin that were accepted in that region with Petersburg armonikas, these instruments should be evaluated as the influence of the Russian culture. Having discussed the ways of appearing of the most popular European instruments into Lithuania it is obvious that smuikas, dūdmaišis, lyra, cimbolai, and basetlė had appeared here from Poland, and citra, mandolina, and gitara from Central Europe through Poland. Armonika had appeared in Lithuania as the result of the influence of German culture and Petersbuig armonika that was produced on the basis of Vienna armonika as the result of the influence of the Russian culture. A considerable part of these instruments could have appeared in Lithuania through the Catholic Northwestern Byelorussia under the strong Polish influence. The historical sources mention, that these instruments already existed exactly in Poland and they are mentioned as the Lithuanian folk music instruments only a century or several centuries later. This is also proved by a majority of the names of the Lithuanian musical instruments of European origin that coincide with Polish and Byelorussian names. Balalaika in the Northwestern Žemaitija should be concidered as the Russian cultural influence as well, on the other hand this instrument was accorded and used as mandolina later on. Speaking about the repertoire of the ethnic and European musical instruments the main part of which consisted of the dance music, it can be stated that the dances of the Latvian origin spread in the Northwestern Žemaitija and the Northwestern Aukštaitija because of the ethnic and cultural similiarity of both nations. It can be considered as well that Latvian dances were accepded in the Northwestern Lithuania due to the ancient background of the Curonians and Semigalians widespread along the border of both nations. The spreading of dances of the Eastern Slavonic origin was influenced not only by ethnic but also by political and economical conditions. Despite
Л. Baika, op. cit., p. 29. Romualdas Apanavičius the fact that these dances spread in the areas inhabited by Russian Old Believers since earlier times, the spreading of them could have been influenced by the railroad St. Petersburg-Warsaw which was built by the Tsar authorities in this Northeastern part of Lithuania. A considerable number of Lithuanians went to St. Petersburg for work, service and studies purposes where from a large cultural and economical impulse was coming. Before building this railroad there was a post-way from St. Petersburg to Warsaw in this country by which there could spread even an earlier Russian cultural influence. The dances of the Central European origin which comprised the main part of the repertoire of the European musical instruments in the second half of the 19lh century appeared into Lithuania mostly through Poland. Polka, valsas, kadrilis, Padispanas spread from the Central Europe to the East and they were adopted in the folk entertaintment. Dances with musical accompanying became popular in Europe only after the 16th century. Before this time there prevailed only circles accompanied by singing.74 The names of these dances that had spread in Lithuania show even the names of the origin or the countries where they had spread from. For example, Šastas has originated from the Polish meaning szósty 'the sixth' and in Dzūkija around Alytus it has a Lithuanizated name Šeštinis. Greičpolkė has originated from German Kreuzpolka, Lithuanian Leilinderis ~ from German Ländler, Šocas - from an English dance named in German Schottisch 'Scottish'.75 L. A. Jucevvicz had written down several dances that were liked very much in the middle of the 19lh century in Žemaitija (Western Lithuania) with a notice, that together with the Lithuanian national dances there have been danced also szlachta (gentry) dances that had come from Poland.76 More over, the dance Noriu miego that is assumed to be Lithuanian one was danced by Poles and Estonians, Klumpakojis - by most European nations, and Paduškėlė - by Poles and Byelorussians.77 There were especially popular Polish dances Mazurka and Krakoviakas in Lithuania. L. A. Juccwicz mentions Mazurka and Polonezas that had come into Lithuania from Poland, and valsas and Siekas through Poland already in the middle of the 19,h century.78 These dances as well as Krakoviakas
74 A. Goldschmidt, Handbuch der deutschen Volkstänzen, Derliu 1967, p. 27-28. 75 K. Poškaitis, Liaudies choreografija, Vilnius 1992, p. 185. 7" Ibidem, p. 91. 77 Ibidem, p. 185. 7" L. Jucevičius, op. cit., p. 201. Polish influence towards the Lithuanian.. had taken roots in the Lithuanian village entertaintment through the estate culture which was exeptionally Polish in the 19* century. Having analyzed the directions of the influences towards the playing of Lithuanian musical instruments it can be noticed that the Polish influence was the strongest and most significant one (Fig. 10).
Fig. 10. Polish influence towards the ethnic instrumental music playing
This has been mentioned in the historical sources since the 16* century and is confirmed by the sources of the 19lh century and by the data of the expeditions of the 20lh century. The Polish influence had brought all European musical instruments and the dance music of the Central European and Polish origin that had widely taken roots in Lithuania. Hence it is seen that Lithuanians living in the Republic of Both Nations and later on in the Russian Empire together with Poles had got all European cultural impulses which had reached even distant villages through this neighbouring nation. The Polish influence, which had essentially changed Lithuanian traditions of playing the ethnic music, dances and entertaintment, had brought Lithuanian nation nearer to other European nations where these traditions had taken roots earlier but no earlier than a hundred years. Thus the Polish influence had helped the Lithuanian nation to avoid seclusion and isolation from the European culture what is observed in the countries that arc to the East from Lithuania. No doubt that an affiliation to the European culture was decided by the prevailing Catholicism in Lithuania which had tied closely Lithuanian and Polish nations and allowed Lithuanians to adopt European cultural impulses naturally going through Poland. The German influence is noticeable more clearly only since the second half of the 19'1' century and it is related mostly with the appearing Romualdas Apanavičius of armonika in Lithuania because the German dances could have appeared in Lithuania not directly from Germany but through Poland. Nevertheless armonikas spread also not from Germany (an exeption is the Lithuania Minor) but mostly from Latvian cities which had been centres of the German culture for centuries (Fig. 11).
Fig. 11. German in fluence towards the ethnic instrumental music playing
This influence is noticeable mostly in the Western and Northern Lithuania where armonikas coincided with the Lithuanian multi-voiced ethnic music area. After the Second World War armonikas spread also in the Eastern and Southern Lithuania but this should not be considered as the German influence because armonikas were already adopted as the instruments of playing the Lithuanian ethnic music. More over the German influence had corroborated the dance music not of German but of Central European and Polish origin which village armonika players started to play. The Russian influence is noticeable in the Northeastern Lithuania (Fig. 12) where it is related to the spreading of Petersburg armonikas and the dance music of the Eastern Slavonic origin. Beside the political and economic reasons, the Russians Old Believers that had been living in this country part since the 17lh century had a big significance for taking roots of the Russian influence from whom armonikas and dance music of Russian origin were borrowed by the Lithuanian village musicians. Nevertheless the Russian influence in Lithuania could be considered as a certain species of European culture because both Petersburg armonikas and the dances of the Eastern Slavonic origin were Russian modifications of the Central European culture. Polish influence towards the Lithuanian...
Fig. 12. Russian in fluence towards the ethnic instrumental music playing
Having compared the analyzed directions of the influences we can notice that the Polish influence in Lithuania was the strongest and most perceptable one (Fig. 13).
Fig. 13. Influences towards the ethnic instrumental music playing: I-Polish,2- Gcnnan, 3 - Russian
This has been witnessed in the historical sources since the 16,h century and is spread evenly in the whole country. The Polish influence had brought all features of the European and Polish culture into Lithuania that brought Lithuanians closer to the European traditions of musical culture. The German influence is noticeably weaker and it is felt only in the Western and Northern Lithuania where armonikas had taken roots since the second half of the 19'1' century. These instruments of German and Austrian origin had even more influenced the spreading of the dance music of Central Romualdas Apanavičius
European and Polish origin which was already widely spread in Lithuania. The Russian influence is the weakest one and it is mostly felt only in the Northeastern Lithuania. In essence this influence had brought not Russian but Central European instrumental music culture that was modified in Russian way into Lithuania.
Conclusions
Lit is obvious that there had been three main influences to the playing of Lithuanian ethnic instrumental music since the 16,h century - Polish, German and Russian. 2. The Polish influence was the strongest one influencing whole Lithuania evenly and it had brought in Central European instruments and the dances of latter and Polish origin. 3. The German influence is mostly felt in the Western and Northern Lithuania since the second half of the 19lh century and it should be related to the spreading of armonikas, nevertheless the German influence had corroborated the spreading of the dance music of the Central European and Polish origin. 4. The Russian influence is the weakest one and it is noticeable only in the Northeastern part of Lithuania where it had brought in essence only the culture of playing the ethnic instrumental music of Central Europe that was modified in Russian way.
Polskie wpływy na litewskie tradycje gry na etnicznych instrumentach muzycznych (streszczenie)
Możemy wyróżnić trzy oczywiste wpływy, jakie oddziaływały na litewską etnicz ną muzykę instrumentalną od XVI wieku - polskie, niemieckie oraz rosyjskie. Polskie wpływy były najsilniejsze i rozprzestrzeniły się na całym terytorium Li twy, wprowadzając środkowoeuropejskie instrumenty i tańce. Wpływy niemiec kie są najsilniej odczuwalne w zachodniej i północnej Litwie od drugiej połowy XIX wieku, co ma związek z rozprzestrzenianiem się armonikas, niemniej jednak wpływy niemieckie potwierdziły rozprzestrzenianie się muzyki tanecznej środko woeuropejskiego oraz polskiego pochodzenia. Wpływy rosyjskie były najsłabsze i można je zauważyć jedynie w Litwie północno-wschodniej, gdzie przejawiają się środkowoeuropejską kulturą gry zmodyfikowaną w rosyjski sposób.