Buffet Versus Heckel: Dviejų Fagoto Sistemų Sąveikos Ir Konfrontacijos

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Buffet Versus Heckel: Dviejų Fagoto Sistemų Sąveikos Ir Konfrontacijos LIETUVOS MUZIKOS IR TEATRO AKADEMIJA MUZIKOS FAKULTETAS PUČIAMŲJŲ IR MUŠAMŲJŲ INSTRUMENTŲ KATEDRA Žilvinas Smalys BUFFET VERSUS HECKEL: DVIEJŲ FAGOTO SISTEMŲ SĄVEIKOS IR KONFRONTACIJOS MENO DOKTORANTŪROS PROJEKTO TIRIAMOJI DALIS VILNIUS 2015 1 Meno doktorantūros projekto tiriamoji dalis parengta eksternu Tiriamojo darbo konsultantas: doc. dr. Judita Žukienė (Lietuvos muzikos ir teatro akademija, humanitariniai mokslai, menotyra 03H, muzikologija H320) 2 Turinys ĮVADAS ................................................................................................................................... 4 1. FAGOTO ATSIRADIMAS IR EVOLIUCIJA IKI XX AMŽIAUS ............................... 9 1.1. Fagoto atsiradimo prielaidos ir versijos. Dulciano epocha .................................. 9 1.2. Barokinis ir klasikinis fagotai ............................................................................... 21 1.3. Bandymai reformuoti fagotą XIX a. – eksperimentai ir tendencijos .................... 24 1.4. Heckel sistemos susiformavimas ........................................................................... 34 1.5. Buffet sistemos susiformavimas ........................................................................... 42 2. MODERNIOS BUFFET IR HECKEL SISTEMOS. FAGOTO EVOLIUCIJOS PERSPEKTYVOS ................................................................................................................ 54 2.1. Buffet ir Heckel sistemų fagotų charakteristika ir jų skirtumai ....................... 54 2.1.1. Konstrukciniai skirtumai ............................................................................... 56 2.1.2. Aplikatūros ypatumai ..................................................................................... 70 2.1.3. Tembriniai niuansai ........................................................................................ 77 2.2. Dviejų sistemų konkurencija: priežastys, tendencijos ir pasekmės ...................... 82 2.3. Fagoto raidos perspektyvos XXI amžiuje ............................................................ 98 3. FAGOTO MODIFIKAVIMŲ ĮTAKA JO FUNKCIONAVIMUI ............................... 113 3.1. Fagoto pritaikymo orkestre pokyčiai XVIII-XX a............................................ 113 3.1.1. Buffet ir Heckel sistemų galimybės aukštame registre ................................. 122 3.1.2. A2 garsas fagoto partijoje ................................................................................ 129 3.2. Solinio repertuaro fagotui sąsaja su jo konstrukcijos evoliucija ......................... 132 IŠVADOS ............................................................................................................................. 142 LITERATŪROS SĄRAŠAS .............................................................................................. 146 PRIEDAI ............................................................................................................................. 152 1 priedas. Darbe naudojamų terminų sąvadas ............................................................ 152 2 priedas. Lietuvos fagotistų apklausos rezultatai ....................................................... 155 3 ĮVADAS Šiandieninėje muzikos atlikimo praktikoje naudojamos dvi koegzistuojančios Buffet ir Heckel fagoto sistemos. Pirmoji susiformavo Prancūzijoje, antroji – Vokietijoje. Jos atsirado neatsitiktinai, ir jų formavimosi etapas yra labai svarbus fagoto evoliucijoje. Abidvi sistemos yra kur kas daugiau, nei du regioniniai skirtingi fagoto konstrukcijos tipai ar rūšys, todėl tradiciškai naudojamas terminas „sistema“ tiksliausiai atspindi prancūziško bei vokiško fagoto savybių visumą. Tai savarankiški modernios fagoto konstrukcijos standartai, kurie skiriasi vienas nuo kito savo konstrukcija, tembru ir atlikimo jais specifika, taip pat turi skirtingą istoriškai susiklosčiusį raidos kelią. Nepaisant to, savo techninėmis galimybėmis bei tembriniais kriterijais abiejų sisitemų instrumentai visiškai atitinka reikalavimus, keliamus fagotui solinėje, kamerinėje bei simfoninėje muzikoje. Dviejų sistemų egzistavimas taip pat paliko pėdsaką skirtingose atlikimo mokyklų bei šalių tradicijose. Tad iškeliama prielaida, jog abi sistemos pakankamai ištobulintos ir parankios tiek atlikėjams, tiek kūrėjams, ir turi susiformavusį savitų charakteringų raiškos savybių spektrą. Skirtingos dviejų sistemų fagotų savybės neretai veikė kompozitorių požiūrį į fagotą bei jo galimybes. Pasitelkus konkrečius orkestrinės bei solinės muzikos pavyzdžius, įmanoma išskirti esminius bruožus, kurių dėka atsiskleidžia Buffet bei Heckel sistemų fagotų privalumai ir panaudojimo galimybės, tuo pačiu paneigiant kai kurias klaidingas stereotipines nuostatas. Dviejų fagoto sistemų koegzistavimo problematika, atskleidžiant šių dviejų sistemų skirtumus, pranašumus ir trūkumus, funkcionavimo aplinkybes, tyrėjų bei atlikėjų nėra pakankamai išnagrinėta. Tai iš dalies pateisinama tuo, kad mūsų dienomis Heckel sistemos instrumentais grojama beveik visame pasaulyje. Istoriškai dviejų fagoto sistemų koegzistavimo klausimas Lietuvoje, juo labiau – jų tarpusavio konkurencija – niekad neegzistavo, nes mūsų šalies fagoto mokyklos ištakos susijusios su čekų mokykla1, kurioje vokiškosios – Heckel – sistemos fagotai buvo įsigalėję nuo XIX a. pabaigos. Absoliuti Heckel sistemos vienvaldystė Lietuvoje atrodo kaip savaime suprantamas dalykas ir būtent todėl niekad neturėjome nei vieno atlikėjo, profesionaliai grojančio Buffet sistemos fagotu 2 . Paradoksalu, bet būtent Buffet sistemos fagotas yra tiesioginės klasikinės epochos fagoto tobulinimo rezultatas, o Heckel sistema – naujai inicijuota kompleksinė fagoto konstrukcijos revizija. Nuo ketvirtojo XX a. dešimtmečio vakarų Europos valstybėse bei anapus Atlanto 1 Profesionalios lietuvių fagoto mokyklos pradžia sietina su čekų noneto atvykimu 1924 metais į Klaipėdos muzikos mokyklą, vadovaujamą S. Šimkaus. Šioje mokykloje atsidarė pirmoji Lietuvoje fagoto klasė, kurioje dėstė minėto noneto narys V. Putna (A. Puplauskis. Fagotas Lietuvoje. Mokslo darbas. Vilnius, 2002, p. 29-31). 2 Vienintelis Lietuvoje prancūziškos sistemos fagotas priklauso darbo autoriui Ž. Smaliui, tačiau koncertinėje veikloje jis naudojamas labai retai. 4 dviejų sistemų – Buffet ir Heckel – konkurencija, jų savybės, pliusai bei minusai tapo atkaklių diskusijų objektu. Sudėtingas nuolat besikeičiančių aplinkybių kompleksas lėmė besikeičiantį muzikantų palankumą vienai ar kitai sistemai, todėl jų pasiskirstymo balansas pasaulyje per daugelį dešimtmečių radikaliai keitėsi. Šiame darbe analizuojamas fagoto konstrukcijos progresas, dviejų sistemų atsiradimas, jų konkurencija ir šios konkurencijos padariniai sujungia į vieną grandinę anksčiau išdėstytus istorinius faktus, su dviejų sistemų paraleliniu egzistavimu susijusius klausimus ir šiandieninės situacijos charakteristiką, tuo pačiu leidžiantis daryti prielaidas apie tolimesnę fagoto meno raidą bei instrumento evoliuciją XXI amžiuje. Šio darbo objektas – Buffet (prancūziškosios) ir Heckel (vokiškosios) fagoto sistemų raidos istorija, instrumentų savybės, panašumai ir skirtumai konstrukciniu, tembriniu bei artikuliaciniu aspektais, pasirinkimo motyvacija, tradicija ir specifika. Tiriamojo darbo tikslas – atlikti išsamią šiuo metu pasaulyje naudojamų dviejų fagoto sistemų analizę akcentuojant jų specifiką, skirtumus, pritaikymą muzikos praktikoje ir kvestionuoti Lietuvoje įsigalėjusius stereotipus, liečiančius instrumento organologiją, istoriją ir evoliuciją. Siekiant užsibrėžto tikslo suformuoti šie uždaviniai: 1) susisteminti informaciją apie fagoto organologiją; 2) išanalizuoti aktualiausias fagoto konstrukcijos problemas, įvardyti svarbiausius bandymus jas pašalinti, apžvelgti paraleliai vykusius instrumento tobulinimo procesus, sąlygojusius Buffet ir Heckel sistemų susiformavimą; 3) nuosekliai išnagrinėti ir palyginti tarpusavyje modernius Buffet ir Heckel sistemos fagotus, nurodyti jų panašumus ir skirtumus; 4) remiantis asmenine atlikėjiška praktika ir atlikto tyrimo rezultatais, pateikti galimas tolimesnės dviejų sistemų fagotų evoliucijos gaires; 5) nurodyti orkestrinės ir solinės muzikos fagotui pavyzdžius, įrodančius jo evoliucijos sąsajas su instrumento funkcionavimu. Darbo aktualumas ir naujumas. Fagoto evoliucijos istorija ir jos problemos, taip pat dviejų savarankiškų jo sistemų formavimosi procesai ir jų tarpusavio skirtumai yra išties menkai tyrinėti. Informacijos apie fagotą stygių ir jo tematiką gvildenančių mokslinių darbų lietuvių kalba poreikį taip pat vienbalsiai patvirtino Lietuvos fagotistų apklausos, darytos 2015 m. pradžioje, rezultatai. Šis tiriamasis darbas – tai išsami fagoto konstrukcijos, funkcionavimo ir raidos studija, kvestionuojanti stereotipines, neretai klaidingas nuostatas 5 apie šį muzikos instrumentą3, atverianti dviejų sistemų fagotų privalumus ir koegzistavimo galimybes 4 . Darbe pristatoma gausi medžiaga apie instrumento konstrukciją ir jos raidą, susisteminanti fragmentiškai pateikiamas žinias bei sudaranti prielaidas originalioms išvadoms. Visų pirma, pateikiama susisteminta instrumento organologinė charakteristika ir išskiriamos aktualiausios problemos jo evoliucijoje. Analizuojami svarbiausi bandymai kvestionuoti fagoto konstrukciją ir jų pobūdis, taip pat detaliai analizuojami ilgametės instrumento evoliucijos rezultatai. Žinios apie fagoto problemas ir specifines savybes konkrečiu laikotarpiu nenuginčijamai vertingos, interpretuojant skirtingų epochų muziką ir analizuojant orkestrines partitūras. Išanalizavus konkrečius muzikos kūrybinės
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