JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone

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JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone JĀZEPA VĪTOLA LATVIJAS MŪZIKAS AKADĒMIJA Līga Pētersone KLAVIERU TRIO LATVIJAS ATSKAŅOTĀJMĀKSLĀ: VĒSTURISKĀ KOPAINA, ANSAMBĻI UN SPĒLES TRADĪCIJAS Promocijas darbs mākslas zinātņu doktora zinātniskā grāda (Dr. art.) iegūšanai mākslas zinātņu apakšnozares Muzikoloģija specializācijas jomā Vēsturiskā muzikoloģija Darba vadītāja asoc. prof. Dr. art. Baiba Jaunslaviete Rīga 2018 Promocijas darbs izstrādāts Jāzepa Vītola Latvijas Mūzikas akadēmijas Doktorantūras nodaļā laika posmā no 2011. līdz 2018. gadam. Promocijas darbs izstrādāts ar Eiropas Sociālā fonda atbalstu projekta nr. 2009/0169/1DP/1.1.2.1.2/09/IPIA/VIAA/001 Jāzepa Vītola Latvijas Mūzikas akadēmijas doktorantūras studiju programmas atbalsts darbības programmas Cilvēkresursi un nodarbinātība papildinājuma 1.1.2.1.2. apakšaktivitātes Atbalsts doktora studiju programmu īstenošanai ietvaros. 2 SATURS IEVADS 6 1. TRĪS SKATPUNKTI UZ ATSKAŅOTĀJMĀKSLU: IEROSMES TO SASAISTEI AR KLAVIERU TRIO PĒTNIECĪBU 13 1.1. Semiotikas skatpunkts 13 1.2. Vēsturiskais skatpunkts (saiknē ar atskaņotājmākslas semiotiku) 22 1.3. Ansambļa pētniecība: grupu psiholoģijas skatpunkts 26 2. LATVIJAS KLAVIERU TRIO ATSKAŅOTĀJMĀKSLA VĒSTURISKĀ SKATĪJUMĀ 31 2.1. Periodizācijas pamatprincipi 31 2.2. Klavieru trio atskaņotājmākslas pirmsākumi Rīgas vācbaltu vidē (1790–1889) 34 2.2.1. Repertuāra kopaina 36 2.2.2. Atskaņotājmākslinieku sniegums un tā rezonanse presē 40 2.3. Pirmie trio ar latviešu mūziķu līdzdalību 47 2.3.1. 19. gadsimta 60.–90. gadi. Kamermūzikas asni latviešu kultūrvidē – augsne klavieru trio spēles tradīciju attīstībai 48 2.3.2. 20. gadsimta sākums. Ludviga Bētiņa trio darbība kā pirmā kulminācija latviešu klavieru trio atskaņotājmākslas vēsturē 54 2.3.3. 1. pasaules kara priekšvakars un kara laiks. Jaunas tendences mūzikas dzīvē un to ietekme uz trio atskaņotājmākslu 60 2.4. Klavieru trio atskaņotājmāksla Latvijas Republikā (1918–1940) 67 2.5. Klavieru trio atskaņotājmāksla Latvijā krasu vēstures pavērsienu apstākļos (1940–1944) 80 2.6. Klavieru trio atskaņotājmāksla Latvijas PSR (1945–1989) 89 2.6.1. Pirmās pēckara desmitgades (1945–1964) 89 2.6.1.1. Jaunās kultūrpolitikas ietekme uz kamermūziku 89 2.6.1.2. Ansamblis BBB jeb Trīs lielie B 91 2.6.1.3. Vilmas Cīrules trio 101 2.6.1.4. Latviešu komponistu jaundarbi klavieru trio žanrā: atskaņojuma vēsture un rezonanse mūzikas dzīvē 110 2.6.2. Norises klavieru trio jomā 1965.–1990. gadā 116 2.6.2.1. Filharmonijas paspārnē 116 2.6.2.2. Studiju process un tā ietekme uz trio atskaņotājmākslu 121 2.6.2.3. Trio bez noteiktas institucionālās piederības 125 2.7. Trio atskaņotājmāksla Latvijā pēcpadomju periodā 132 2.7.1. Sociālkulturālais konteksts 132 2.7.2. Atskaņotājmākslas norises: ansambļi un repertuāra tendences 141 2.7.2.1. Trio Jāzepa Vītola Latvijas Mūzikas akadēmijā 141 2.7.2.2. Trio Opera 146 2.7.2.3. Citi trio ansambļi 150 2.7.3. Latviešu komponistu jaundarbi koncertdzīves kontekstā 156 3. ATSEVIŠĶI KLAVIERU TRIO ANSAMBĻI: DARBĪBAS PAMATNOSTĀDNES, TO IZPAUSME INTERPRETĀCIJĀ 165 3.1. Ansambļu atlase padziļinātai izpētei: galvenie kritēriji 165 3.2. Valda Janča, Jura Švolkovska un Māra Villeruša klavieru trio (1965–1985) 165 3.2.1. Ansambļa darbības pirmsākumi 165 3 3.2.2. Ansambļa darbības aktīvākais periods un repertuāra stūrakmeņi 168 3.2.3. Ansambļa dalībnieku radošās personības un to mijiedarbe: pašu mākslinieku skatījums 176 3.2.4. Janča trio spēles raksturiezīmes Ludviga van Bēthovena Trio op. 97 interpretācijā 179 3.2.4.1. Trio op. 97 pētnieciskās domas skatījumā 179 3.2.4.2. Zīmīgākās tendences audioieskaņojumos un Janča trio to kopainā 183 3.3. Bulava trio 208 3.3.1. Ansambļa darbības kopējās aprises 208 3.3.2. Sadarbība ar latviešu komponistiem 212 3.3.3. Ansambļa dalībnieku radošās personības un to mijiedarbe: pašu mākslinieku skatījums 216 3.3.4. Bulava trio spēles raksturiezīmes Franča Šūberta Adagio D 897 (Noktirnes) interpretācijā 218 3.3.4.1. Adagio D 897 pētnieciskās domas skatījumā 218 3.3.4.2. Zīmīgākās tendences audioieskaņojumos un Bulava trio to kopainā 221 NOSLĒGUMS 233 LITERATŪRA UN CITI AVOTI 243 1. Zinātniskā literatūra 243 2. Publicistika un muzikālā rakstniecība 252 3. Preses materiāli 252 4. Intervijas 259 5. Arhīvu materiāli 261 6. Interneta resursi 262 7. Diskogrāfija 263 7.1. Darbā izmantotie Latvijas trio skaņieraksti 263 7.2. Darbā izmantotie citu trio ansambļu skaņieraksti 266 7.3. Skaņdarbi, kas nepārstāv klavieru trio jomu 269 PIELIKUMI (sk. atsevišķu iesējumu) 1. INTERVIJAS 1.1. Intervija ar Valdi Janci par filharmonijas trio darbību 1.2. Intervija ar Juri Švolkovski par filharmonijas trio darbību 1.3. Intervija ar Māri Villerušu par filharmonijas trio darbību 1.4. Intervija ar Aldi Liepiņu par Bulava trio darbību 1.5. Intervija ar Jāni Bulavu par Bulava trio darbību 1.6. Intervija ar Leonu Veldri par Bulava trio darbību 1.7. Intervija ar Emīla Dārziņa mūzikas vidusskolas ilggadējo pedagogu Jāni Rinkuli 1.8. Intervija ar JVLMA Kameransambļa un Klavierpavadījuma katedras vadītāju, profesori Guntu Rasu (agrāk Sproģi) 1.9. Intervija ar JVLMA Kameransambļa un Klavierpavadījuma katedras profesoru Aldi Liepiņu 2. KLAVIERU TRIO ATSKAŅOJUMS LATVIJĀ DAŽĀDOS LAIKPOSMOS: DATI PROGRAMMĀS, AFIŠĀS UN KONCERTSLUDINĀJUMOS 2.1. Trio koncerti Latvijā 1790.–1889. gadā 2.2. Trio koncerti Latvijā 1894.–1915. gadā 4 2.3. Trio koncerti Latvijā 1919.–1940. gadā 2.4. Trio koncerti Latvijā 1940.–1944. gadā 2.5. Trio koncerti Latvijā 1945.–1964. gadā 2.6. Trio koncerti Latvijā 1965.–1990. gadā 2.7. Trio koncerti Latvijā 1990.–2015. gadā 3. LATVIJAS KOMPONISTU SKAŅDARBI KLAVIERU TRIO 4. PLAŠĀK ANALIZĒTO TRIO INTERPRETĀCIJU TEMPU LĪKNES 4.1. L. van Bēthovena Trio B dur op. 97 temps 10 ansambļu interpretācijās 4.1.1. A. Korto – Ž. Tibo – P. Kazalss, 1928; NAXOS Historical 8.110195 (2002) 4.1.2. A. Rubinšteins – J. Heifecs – E. Feiermans, 1941; RCA Records 090266301226 (1999) 4.1.3. E. Gilelss – L. Kogans – M. Rostropovičs, 1956; DOREMI DHR-7921-5 (2007) 4.1.4. Beaux Arts Trio, 1962; Universal Classics 00028946468326 (2001) 4.1.5. D. Barenboims – P. Cukermans – Ž. Diprē, 1969; Warner Classics 0077776312453 (1989) 4.1.6. V. Jancis – J. Švolkovskis – M. Villerušs, 1975; ieraksts glabājas Latvijas Radio arhīvā 4.1.7. Borodina trio; Chandos CHAN8352-55 (1987) 4.1.8. J. van Immersēls – V. Betsa – A. Bilsma; Sony Classical 074645135328 (2000) 4.1.9. Bulanžē trio; Profil PH14015 (2014) 4.1.10. LNSO klavieru trio, 2015; ieraksts glabājas Latvijas Radio arhīvā 4.2. F. Šūberta Adagio (Noktirnes) D 897 temps 10 ansambļu interpretācijās 4.2.1. F. Vīrers – R. Barhets – H. Reimanis, 1956; Vox Productions, Inc. PL 8970 4.2.2. Beaux Arts trio, 1966; Decca 00028943870023 (1994) 4.2.3. H. Menuhina – J. Menuhins – M. Žendrons, 1968; Warner Classics – Parlophone 0724357541954 (1990) 4.2.4. Bulava trio, 1996; LIMA MRCDK 017 (2000) 4.2.5. Altenberga trio; Challenge Classics cc72037 (1996) 4.2.6. J. van Immersēls – V. Betsa – A. Bilsma; Sony Classical 074646336120 (1998) 4.2.7. Trio Wanderer, 2000; Harmonia Mundi HMC 902002.03 (2008) 4.2.8. Izraēlas klavieru trio; CRD Records CRD2411 (2002) 4.2.9. Vīnes Šūberta trio, 1991; Nimbus Alliance NI6137 (2011) 4.2.10. Bulanžē trio, 2015; Challenge Records AVI 8553345 (2016) 5. TVARTS AR PROMOCIJAS DARBĀ ANALIZĒTAJIEM SKAŅIERAKSTIEM: LATVIJAS KLAVIERU TRIO ANSAMBĻU IESKAŅOJUMI 5 IEVADS Promocijas darbs veltīts Latvijas atskaņotājmākslinieku ieguldījumam klavieru trio jomā – vienā no kamermūzikas pamatžanriem. Šī ansambļa veida savdabība izpaužas tembru kombinācijā: stīginstrumentu un klavieru saspēle sniedz bagātīgas iespējas veidot gan subjektīvā/objektīvā divvienību, gan arī visdažādākos triādes modeļus. Tie daudzveidīgi atklājušies pasaules mūzikā – nu jau vairāk nekā divus gadsimtus ilgajā klavieru trio pastāvēšanas laikā. Arī Latvijā, kā liecina koncertprogrammas, klavieru trio atskaņotājmākslai ir gandrīz tikpat sena (vien dažas desmitgades īsāka) vēsture kā Rietumeiropā, kur izveidojies žanra klasiskais veidols. Tādējādi caur trio prizmu varam vērot daudzus interesantus procesus mūsu mūzikā – piemēram, laikmetu un mākslinieku paaudžu maiņu, dažādu mūzikas institūciju darbību un to iespaidu uz koncertdzīvi. Izraudzītās tēmas aktualitāti palielina fakts, ka ne vien Latvijas, bet arī pasaules zinātniskajā literatūrā pētījumu par klavieru trio atskaņotājmākslu ir krietni mazāk nekā par atsevišķu šī ansambļa instrumentu (klavieru, vijoles, čella) solospēli un arī mazāk nekā par citu kamermūzikas pamatžanru – stīgu kvartetu. Piemēram, vienā no plašākajiem 21. gadsimta bibliogrāfiskajiem izdevumiem, kas veltīti kamermūzikai – Chamber Music: A Research and Information Guide (Baron 2002) – ietverta atsevišķa nodaļa par stīgu kvartetu, kurā apkopoti vairāki desmiti avotu par šī žanra atskaņotājmākslas dažādiem aspektiem (Advice on Performing String Quartets; Baron 2002: 654–664); turpretī klavieru trio spēlei veltīti tikai trīs pētījumi, kas uzskaitīti kopējā aprakstā par dažādiem ansambļu veidiem (Advice on Performance of Other Types of Chamber Music; Baron 2002: 671–672). Autoritatīvajā enciklopēdijā The New Grove Dictionary of Music and Musicians rakstā par stīgu kvartetu minēti 15, autoruprāt, visnozīmīgākie bibliogrāfiskie avoti, kas veltīti šī žanra atskaņotājmākslai (Cliff, Baldassarre, Griffiths 2001: 595); savukārt rakstā par klavieru trio vispār nav bibliogrāfijas sadaļas, kas iztirzātu atskaņotājmākslu (Tilmouth, Smallman 2001: 698). Vācu enciklopēdija Die Musik in Geschichte und Gegenwart stīgu kvartetam pievēršas divos rakstos – Streichquartett (komponistu daiļrades raksturojums, Finscher 1998a:
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