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Principles of Music Composing: Muzikos Komponavimo Principai

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MUZIKOS PRINCIPLES KOMPONAVIMO OF MUSIC PRINCIPAI: COMPOSING: orkestras Orchestra šiuolaikiniuose in Contemporary kontekstuose Contexts XIX Lietuvos muzikos ir teatro akademija Vilnius 2019 ISSN 2351-5155 REDAKcinė KOlegija / EDITOrial BOarD Vyr. redaktorius ir sudarytojas / Editor-in-chief Prof. Dr. Rimantas Janeliauskas Redaktoriaus asistentai / Assistant editors Assoc. prof. Marius Baranauskas Aistė Vaitkevičiūtė Nariai / Members Prof. James Dalton (Bostono konservatorija, JAV / Boston Conservatory, USA) Dr. Bert Van Herck (Naujosios Anglijos muzikos konservatorija, JAV / New England Conservatory of Music, USA) Dr. Mark Konewko (Diedericho komunikacijos koledžas, Marquette’o Universitetas, JAV / Diederich College of Communication at Marquette University, USA) Prof. Dr. Antanas Kučinskas (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Assoc. prof. Dr. Ramūnas Motiekaitis (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Dr. Jānis Petraškevičs (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Prof. Dr. Pavel Puşcaş (Muzikos akademija Cluj-Napoca, Rumunija / Music Academy Cluj-Napoca, Romania) Prof. Roger Redgate (Goldsmito Londono universitetas, Anglija / Goldsmiths University of London, England) Dr. Gundega Šmite (Latvijos Jāzepo Vītuolio muzikos akademija, Latvija / Jāzeps Vītols Latvian Academy of Music, Latvia) Assoc. prof. Dr. Mārtiņš Viļums (Lietuvos muzikos ir teatro akademija / Lithuanian Academy of Music and Theatre) Prof. Miloš Zatkalik (Belgrado menų universitetas, Serbija / University of Arts in Belgrade, Serbia) Straipsniai recenzuoti peer review / Peer-reviewed articles Redagavo / English language editor Zuzana Šiušaitė Santraukas vertė / Summaries translated by Aistė Vaitkevičiūtė Lietuviškus tekstus redagavo / Lithuanian language editor Aušra Gapsevičienė © Lietuvos muzikos ir teatro akademija, 2019 © Rimantas Janeliauskas, sudarymas / Compilation, 2019 Turinys / Contents Pratarmė . 4 Foreword ........................................................................... 5 1 TEORINIAI, TECHNOLOGINIAI IR FENOMENOLOGINIAI ORKESTRO SAMPRATOS ASPEKTAI THEORETICAL, TECHNOLOGICAL AND PHENOMENOLOGICAL ASPECTS OF ORCHESTRA AS A CONCEPT Roger Redgate. When is an Orchestra not an Orchestra? ...................................... 9 Marius Baranauskas. The Structural Elements of the Orchestra: A Theoretical Approach ............ 22 Dina Lentsner. Orchestra as a Marker of Fluid Community in Ēriks Ešenvalds’s Nordic Light Multimedia Symphony . 35 2 Technologiniai šiuolaikinio orkesTro sprendimai ir jų sanTykis su Tradicija Technological soluTions of conTemporary orchesTra in relaTion To orchesTral TRADITION Marcello Messina. Disquieting Presences in the Concert Hall: A Tale of Wheelbarrows, Digger Buckets and Other Unusual Objects in Recent Orchestral and Chamber Music from Northern England ............................................................ 45 Manos Panayiotakis. Acoustic Instruments as Primitive Sources for Sound Synthesis in the Orchestral Writing of Edgard Varèse – Arcana and Amériques .......................... 54 Stephan Lewandowski. Tightrope Walks and Panorama. Orchestral Techniques in Wilfried Krätzschmar’s Fifth Symphony (2018) . 65 Mārtiņš Viļums. Orchestration as Heterophonic Synthesis of Timbres in Mārtiņš Viļums’ Tvyjōraan for Chamber Orchestra . 73 3 orkesTro Technikų ir kūrybos sTiliaus inTegralumas The inTegriTy of Style and orchesTral Techniques Vadim Rakochi. The “Orchestra of Soloists” in Mahler’s Nachtmusik . 85 Charris Efthimiou. Compositional Strategies in the Field of Instrumentation of M. K. Čiurlionis’ Miške .. 95 Aleksandra Machura. Tam. Music for Violin, Voices and Instruments: Orchestra in the Eyes of Rafał Augustyn . 104 4 eduardo balsio kūrybos konTeksTai ir (re)inTerpreTacijos The oeuvre by eduardas balsys: conTexTs and (re)inTerpreTaTions Gražina Daunoravičienė. Eduardas Balsys’ Dodecaphony and its Contexts ...................... 116 Judita Žukienė. Final Chords as a Vivid Reflection of Eduardas Balsys’ Creative Work: Concerto for Violin Solo ............................................................. 125 Audronė Žiūraitytė. Multifariousness of Interpretations of Eduardas Balsys’ Ballet Eglė the Queen of Grass Snakes ....................................................... 131 Rimantas Janeliauskas. National Traits of Timbral Texture in the Symphonism of Dramatic Frescoes by Eduardas Balsys. The Quaternion of the Archetypes ofT imbral Texture . 138 PRIEDAS / SUPPLEMENT Martin Vishnick. The London Improvisers Orchestra: A Subjective Review ..................... 163 Apie autorius / About the authors ...................................................... 173 Pratarmė Ši mokslinių straipsnių rinktinė – tai periodinis leidinys, skirtas kelti, tyrinėti ir suprasti aktualius muzi- kos komponavimo klausimus. 19-ojo Muzikos komponavimo principų tomo tema – orkestras šiuolaikiniuose kontekstuose. Juo taip pat norima pažymėti Eduardo Balsio 100-ąsias gimimo metines ir iš naujo apmąstyti šio talentingo lietuvių kompozitoriaus kūrybinį indėlį į Lietuvos kultūrinę raidą. Leidinyje savo idėjas pristatė muzikologai ir kompozitoriai iš Lietuvos, Ukrainos, Lenkijos, Vokietijos, Austrijos, Italijos, Graikijos, Jung- tinės Karalystės, JAV. Žurnalo straipsniai mokslinio komiteto atrenkami remiantis trimis pagrindiniais kriterijais: a) straips- niams taikomi aukščiausios kokybės standartai; b) autorių pasirinktos temos turi atitikti bendrą konkretaus tomo temą; c) atsižvelgiama į sąsają su konkrečia leidinio dedikacija. Kad straipsnis būtų publikuojamas, jis turi atitikti bent du kriterijus. Leidinio straipsniai sugrupuoti į keturias potemes. I potemė: teoriniai, technologiniai ir fenomenologiniai orkestro sampratos aspektai. Pakitę kom- ponavimo praktikos kontekstai gerokai pakoregavo įprastą, XVIII–XIX a. nusistovėjusią orkestro sampratą. Rogeris Redgate’as aptaria kelis su minėta kaita susijusius aspektus: a) naująsias komponavimo technikas, b) koncepcijas ir c) notaciją. Be to, autoriui rūpi socialiniai ir kultūriniai orkestrinio dizaino veiksniai. Marių Baranauską nauji komponavimo kontekstai skatina sustruktūrinti šiuolaikinio orkestro dėmenis, įvardyti ba- zinį orkestro vienetą, o išsami teorinė plėtotė leidžia įžvelgti struktūrinius orkestro lygmenis ir pakoreguoti orkestro sampratą. Dina Lentsner konkretaus kūrinio (Ēriko Ešenvaldo Nordic Light) analize demonstruoja multidisciplininę sistemą, kurioje tarp kelių dėmenų – choro, pasakotojo, publikos – funkcionuoja ir orkestras. Visi šie įvairialypiai komponentai kryptingai formuoja simfoninę multimediją. II potemė: technologiniai šiuolaikinio orkestro sprendimai ir jų santykis su tradicija. Modernumo ir tradicijos santykis nėra vienareikšmis ir lengvai nusakomas. Iš dalies tai rodo ir straipsniai. Antai Marcello Messina šiuolaikinių orkestrinių sprendimų, susijusių su naujais skambesio šaltiniais bei objektais (karučiais, kasimo kaušais ir kt.), priešpriešą stereotipiniams orkestro melomanų lūkesčiams įvardija kaip koncertinių salių nejauką. Konstruktyviai įvertinti šio santykio aspektus autorius siekia analizuodamas Šiaurės Anglijos orkestrinės ir kamerinės muzikos praktiką. Manos Panayiotakis, nagrinėdamas Edgard’o Varèse’o kūrinius, atskleidžia minėto santykio dvilypumą. Tam tikra kompozitoriaus naudota orkestrinė technika turi sąsajų su dabartinėje elektroninėje muzikoje taikomomis procedūromis, taigi tarsi pranašavo naujosios muzikos erą. Kita vertus, kaip pažymi Stephanas Lewandowskis, kompozitorius įtikinamus meninius sprendimus, aktua- lius dabarties orkestrinio komponavimo praktikai, gali atrasti neperžengdamas tradicinio simfoninio žanro ribų (turima omenyje Wilfriedo Krätzschmario Penktoji simfonija). O Mārtiņas Viļumas pristato originalų mikrosonorinės heterofonijos principą, kurį iliustruoja savo kūriniu Tvyjōraan kameriniam orkestrui. Hetero- foninės sintezės santykio su orkestrine tradicija kompozitorius, regis, neverbalizuoja. III potemė: orkestro technikų ir kūrybos stiliaus integralumas. Orkestrinė technika neretai sutampa su kompozitoriaus stiliaus ypatumais ir virsta integraliu komponavimo produktu. Vadimo Rakochi nuomone, koncertiškumas, ypač ryškiai atsiskleidęs Gustavo Mahlerio Nakties muzikoje, tampa pagrindiniu kompozito- riaus orkestrinio stiliaus bruožu, determinuojančiu solistų orkestro fenomeną. Charris Efthimiou, išnagrinėjęs M. K. Čiurlionio simfoninės poemos Miške instrumentuotę (boso ir melodines linijas), atskleidžia įsidėmėtiną kompozitoriaus stiliaus ypatybę – spalvingumą, kuris pasiekiamas nuolat varijuojant tembrus, bet jų nekar- tojant. Tai logiška, nes kompozitorius buvo ir genialus dailininkas. Anot Aleksandros Machuros, originalų požiūrį į koncerto žanro esmę pateikia Rafałas Augustynas savo kūriniu Tam/Tu smuikui solo, balsams ir instrumentams. Styginių sekciją pakeitus choru, eksponuojamas konfliktas tarp solo ir ansamblio, taip išryš- kinant tembrinį jų kontrastą. IV potemė: Eduardo Balsio kūrybos kontekstai ir (re)interpretacijos. Ši potemė skirta įvairiems kom- pozitoriaus kūrybos aspektams. Gražina Daunoravičienė, pateikdama platų XX a. 7-ojo dešimtmečio Lie- tuvos kultūrinį kontekstą ir lietuvių kompozitorių pažinties su dodekafonine technika aplinkybes, E. Balsio kompozicinę techniką apibūdina kaip laisvą bazinių struktūrų plėtojimą atonalioje terpėje. Judita Žukienė išryškina E. Balsio Koncerto smuikui solo išskirtinumą „sunkiasvorių“ kompozitoriaus kūrinių kontekste ir apibendrina
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    Francesco Punzi - Presidente Nato a Martina Franca il 4 aprile 1935. In qualità di Sindaco di Martina Franca, fu il primo firmatario dell’Atto costitutivo del Centro Artistico Musicale che diede vita al Festival della Valle d’Itria. Dal 1980 è presidente del Centro Artistico Musicale “Paolo Grassi” e del Festival della Valle d’Itria. Dal 2003 è presidente della Fondazione Paolo Grassi di Martina Franca. È inoltre presidente Nazionale di Italiafestival, che riunisce all’interno della Associazione Generale Italiana dello Spettacolo (AGIS) i maggiori festival italiani di musica, teatro, danza, cultura e cinema. È Vice Presidente Vicario per lo Spettacolo dal vivo dell’AGIS di Puglia e Basilicata e Vice Presidente Vicario della Federmusica - AGIS nazionale. È stato Sindaco di Martina Franca dal 1972 al 1989. Già dirigente delle ACLI, ha rivestito diversi incarichi a livello amministrativo e politico. Convinto europeista, ha ricoperto ruoli di grande prestigio, tra cui quella di Presidente della Sezione Italiana del Consiglio dei Comuni e delle Regioni d’Europa (A.I.C.C.R.E.), componente dell’intergruppo Enti Locali europeo (Bruxelles), componente della commissione europea nel programma “Solidarietà acqua Paesi terzo mondo”. È stato inoltre Presidente del Consorzio Universitario Jonico, componente del Consiglio di Amministrazione dell’Università degli Studi di Bari, Presidente della sezione di Taranto del Comitato Regionale di Controllo [CO.RE.CO], componente del comitato regionale della Puglia per la programmazione economica. Tra le molte onorificenze ricevute: Medaglia d’oro del Presidente della Repubblica quale benemerito dell’Arte e della Cultura, Commendatore al merito della Repubblica Italiana dal 2000, Commendatore dell’Ordine di San Gregorio Magno, nominato da SS.
  • Komunikacijos Adekvatumo Beieškant

    Komunikacijos Adekvatumo Beieškant

    Kultūros savaitraštis „7 meno dienos“ | www.7md.lt 2016 m. rugsėjo 30 d., penktadienis Nr. 30 (1182) | Kaina 0,90 Eur D ailė | M uzika | T eatras | K inas | F otografija 2 Komunikacijos Davido Geringo jubiliejinis koncertas adekvatumo beieškant 3 4-ajam gatvės meno festivaliui „Street Art Vilnius ’16“ pasibaigus Lietuvos kamerinis orkestras pradeda sezoną 5 Choreografės, šokio pedagogės Danutės Nasvytytės šimtmečiui Liudo Parulskio išnykstantis troleibusas, fotomanipuliacija. 2016 m. garažų, apšvietimo stulpų, rekla- apipavidalintų troleibusų Nr. 3 ir Aleksandra Fominaitė minių stendų, gėlių vazonų ir t.t. – Nr. 17 eismą, kalbintos jų vairuoto- dizaino kuriamoms vizualinėms jos, be kita ko, pranešusios, kad per Kadangi kelerius pastaruosius „žinutėms“, ir pan. Komunikacija, vieną kasdienę kelionę troleibuse metus paskutines rugpjūčio ir pir- kaip svarbus miestiečių kasdieny- gimė katinukai. Virtualioji festiva- mąsias rugsėjo savaites leisdavau bės aspektas, organizatorius įkvėpė lio dimensija pateikia itin simpa- gamtoje toli nuo sostinės, 4-ojo ir į miesto aplinką pažvelgti kaip į tiško ir sklandžiai vykstančio svar- gatvės meno festivalio „Street Art tekstą, turintį ne tik tiesioginių, bet baus miesto įvykio vaizdą. Tačiau Vilnius ’16“ turbūt negalėčiau ade- ir užslėptų prasmių, nuolatos reda- visuose jo renginiuose ir diskusijose kvačiai įvertinti iš laiko perspekty- guojamą ir keičiamą. Kaip profesio- apsilankiusi „gyvai“ negalėjau ne- Kaspars Podnieks, „Pienas“ vos. Festivalio veiklą pastebėdavau naliai rašančiai sostinės gyventojai, sistebėti, kaip keičiasi komunikaci- tik iš feisbuko pranešimų, susijusių man pasirodė ironiška, kad būtent su jos kokybė, iš nematomų interneto su miesto šventėmis ir, pavyzdžiui, pagrindine – susisiekimo, ryšio, ben- „bangų“ nusileidus į žemę, bendrau- praeitais metais tik po gero pus- dravimo – tema susiję dalykai buvo jant tikroje erdvėje tikru laiku.
  • The Folk Fiddle Music of Lithuania's Coastal Regions

    The Folk Fiddle Music of Lithuania's Coastal Regions

    studying culture in context The folk fiddle music of Lithuania’s coastal regions Gaila Kirdienė Excerpted from: Driving the Bow Fiddle and Dance Studies from around the North Atlantic 2 Edited by Ian Russell and Mary Anne Alburger First published in 2008 by The Elphinstone Institute, University of Aberdeen, MacRobert Building, King’s College, Aberdeen, AB24 5UA ISBN 0-9545682-5-7 About the author: Gaila Kirdienė is a senior researcher in ethnomusicology at the Institute of Musicology, Lithuanian Academy of Music and Theatre, and a lecturer at the Department of Ethnomusicology. In 1990 she graduated from the Lithuanian Academy of Music and Theatre in violin, and in 1992 in ethnomusicology. She is the author of over sixty works about folk music and fiddling. She leads the ‘Griežikai’ folklore group. Copyright © 2008 the Elphinstone Institute and the contributors While copyright in the volume as a whole is vested in the Elphinstone Institute, copyright in individual contributions remains with the contributors. The moral rights of the contributors to be identified as the authors of their work have been asserted in accordance with the Copyright, Designs and Patents Act 1988. This work is licensed under the Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. 3 The folk fiddle music of Lithuania’s coastal regions GAILA KIRDIENĖ here are five main ethnographical regions in Lithuania. Starting from the West, Tand going to the East and South they are the Klaipėda Region, Samogitia, Higher Lithuania, Dzūkija, and Suvalkija (or Sudovia) (see Figure 1).
  • Sutarkim Gerai

    Sutarkim Gerai

    SUTARKIM GERAI: DIALOGICAL RELATIONS OF LEGITIMIZATION BETWEEN LITHUANIAN STATE BUREAUCRACY AND POLITICAL AND CULTURAL MOVEMENTS THROUGH MECHANISMS OF FOLK MUSIC By Emily Daina Šaras Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Master of Arts Supervisors: Professor Balazs Vedres CEU eTD Collection Professor Jean-Louis Fabiani Budapest, Hungary 2013 ABSTRACT This anthropological research project investigates the dialogical relationship between two entities: first, the official and expert organs of Lithuanian folk music, including the Lithuanian Executive Branch of Government, the Lithuanian Ministry of Culture, and various non-governmental folklore organizations and institutions that monitor and control the folk music genre through programming and funding; and second, the rising neo-Nazi folk youth movement as representative of many radical fringe groups which fall on the extremely conservative end of the political spectrum. The Lithuanian Ministry of Culture has featured the performance of dainos, or folk songs, in much of the country’s state-sponsored arts and culture programming over the last two decades of Lithuania’s independence. In recent years, a new trend of engagement with Lithuanian folk music is emerging among self-identifying neo-Nazi and Skinhead Lithuanians, particularly under the umbrella of youth-centered xenophobic organizations such as the Jaunoji Lietuva (Young Lithuania) radical political party. Their demonstrations and performances – namely, protests, gatherings, and marches that occur in central, public locations in many of Lithuania’s biggest cities – incorporate the singing of modified folk musical material as a strategic part of their events. Within the frame of an ethnographic study based in Vilnius, Lithuania, I aim to collect and order claims towards authenticity, authority, and expertise over folk music material, in so much as they relate to these aforementioned groups.