Mikalojus Konstantinas Ciurlionis, Lithuanian

v Baltic Portraits: Mikalojus Konstantinas Ciurlionis,

Lithuanian COD;lposer and P~inter by Vance D. Wolverton arlier installments in this series of articles explored of the estate's orchestra. Duke Oginskis took a liking to the the music of four Estonian. composers (Cyril young flutist and offered to provide him with an allowance to Ius Kreek, Choral Journal, Vol. 40, No.2; 1999; enable him to get a proper education. In this way, at the age of Rudolph Tobias, Choral Journal, Vol. 41, No.7, eighteen, Ciurlionis was able to make his way to Warsaw where 2000; Urmas Sisask, Choral Journal, Vol. 42, No.8, 2002; he enrolled in the Institute of Music. At the institute, Mikalojus Erkki-Sven Tuur, Choral Journal, Vol. 43, No.1, 2002) and initially studied piano, switching to composition after three and the patriarch of the Latvian art music tradition, Jazeps VItols, a half years. While yet a student, he composed piano fugues, Choral Journal, Vol. 44, No.1, 2003. The present article moves choral works (psalm settings), piano' variations, sonatas and the focus to Lithuania, featuring the life and works of Mikalojus other works for piano, and the cantata De Profundis for mixed Konstantinas Ciurlionis. Like Tobias in Estonia and VItols in choir and orchestra (1899). He graduated in June of 1899 in the Latvia, Ciurlionis was the founding father of the art musictradi class of Zygmunt Noskowski (1846-1909). tion in his native country. Unlike the others, he also founded a While in,warsaw, Ciurlionis tried his hand at writing-one national tradition in the visual arts. The prominent Lithuanian of his early poems dating from 1899. He also developed an musicologist Adeodatas Tauragis (1936-2004) has stated the amateur interest in painting and drawing, which he had begun to following about Ciurlionis: pursue while living in Plunge. Above all else, he devoted him self to reading, becoming especially enamored of the popular M.K. Ciurlionis's name was like a bright star in the science works on various terrestrial and celestial phenomena constellation. With his arrival professional Lithuanian by the French astronomer Camille Flarnmarion (1842-1925). national art, just taking its first halting steps, at long last· After his graduation from the Institute of Music, Mikalojus con . had an artist and composer of rare talent. The significance tinued to reside in Warsaw until the spring of 1901, supporting of Ciurlionis's work for Lithuanian culture was enormous. himself by teaching private lessons. Rising like a bright star in the firmament, Ciurlionis In 1901-02 Ciurlionis studied counterpoint, composi too quickly burnt out. However, his work, [and] all his tion and instrumentation in Leipzig with Salomon Jadassohn activities, remain an inspiring example of selfless creative (1831-1902) and Carl Reinecke (1824-1910). In Leipzig he effort for generations of Lithuanian artists to come. The composed major musical compositions that far surpassed his work of Ciurlionis is an inseparable part of the cultural student work, but his future was still unclear to him.4 He was heritage of our nation-a very valuable contribution to the offered a position at the Warsaw Institute of Music, but turned it treasury of world art. 1 down. Instead, he began attending classes at the Warsaw School of Drawing. In the spring of 1904, while composing his musical Mikalojus Konstantinas Ciurlionis was born on September masterpiece, the symphonic poem titled The Sea, he enrolled in 22, 1875, in Varena, in southern Lithuania, at that time the the newly opened Warsaw School of Art. Although he strove to Kaunas province of the Russian Empire. His father, Konstan become a professional artist, political developments provided a tinas Ciurlionis, was a church organist. His mother, Adele more concrete direction to his ambitions. Radmanaite, met his father when she visited the Catholic church The revolution in Russia and military failure in the war with where Konstantinas played and was struck by both the sound Japan forced the tsarist government to make liberal concessions of the organ and the appearance of the organist. 2 to inhabitants of the outlying regions of the empire. In 1905, Mikalojus was the first of eleven children born to Konstan the Warsaw Lithuanian community was awarded the right to tinas and Adele; nine of whom survived into adulthood. In 1878. establish a mutual aid society. The Society soon organized a the family moved to Druskininkai, a resOlt town in the Gardinas choir and Ciurlionis agreed, offering to become its director province. Life was difficult for the family. Konstantinas earned without salary. Ciurlionis also became active in the Lithuanian ten rubles per month as parish organist and Adele sewed and National Revival Movement. The Movement needed musicians gave private lessons to supplement her husband's meager in and artists, the choirs needed songs, and the books needed il come. In Druskininkai, young Mikalojus Konstantinas attended lustrators. Ciurlionis received commissions to harmonize folk the local primary school where Russian was the language of. songs or compose new songs for a Lithuanian school song instruction; "Learning to read a sheet of music, playing the book, to design a cover for the primer and similar tasks. In these piano, listening to his parents' songs or his father's organ and ways, Ciurlionis joined those patriots who had set out to foster choir provided the young Ciurlionis with his first glimpses into a Lithuanian national culture and he soon became a leading the world of art."3 figure in that movement.5 . From 1889 to 1893 Mikalojus lived ih Plunge, on the estate In the autumn of 1907, Ciurlionis settled in Vilnius wherehe of Duke Mykolas Oginskis, taking music lessons in the estate's was able to make a modest living as the conductor of the choir orchestral school. Mikalojus played the flute and, from the age "Vilniaus Kankles". In addition, he taught private lessons to the of seventeen, he began to earn a regular salary as a member choir members, nurtured plans for a future music school and dreamed of organizing large annual concerts of Lithuanian mu Vance D. Wolverton is professor of music and" chairman of sic. He also continued to present piano recitals and conduct the the Department of Music at Northern Kentucky University, choir, arranging folk songs and composing original works for Highland Heights, Kentucky. . it. In all of these activities, he was helped by SofijaKymantaite, a young author he had met in Vilnius in the summer of 1907.

October 2005 • CHORAL JOURNAL 25 With her help, he was able to gain a bet returned to Lithuania where he and Sofija characteristics of Lithuanian folk song ter mastery of the Lithuanian language were married on January 14, 1909. After and Lithuanian composers. and soon found himself falling in love. the wedding, he and Sofija returned to St. In late November of 1909, Mikalo Throughout 1908, Ciurlionis continued to . Petersburg where, in addition to show jus returned to St. Petersburg with the compose and conduct new choral works ing his paintings, his piano preludes and goal of securing a permanent position. set to Sofija's lyrics and, in the spring, he landscapes from The Sea were performed Sofija, who was pregnant, remained in was able to mount the first performance in a concert sponsored by the Society of Lithuania until such time as her husband of his cantata De profundis. In October Contemporary Music. In March 1909, could provide adequately for her and the 1908, Ciurlionis traveled to St. Petersburg the Ciurlionises returned to Lithuania baby. As early as the autumn of 1908, where he was invited to exhibit several of where they collaborated on a collection Ciurlionis had suffered from episodes of his paintings. He tried to find a permanent of essays titled In Lithuania including depression. Shortly after his return to St. position there, but was unsuccessful. He a lengthy chapter by Mikalojus on the Petersburg, weighted down by the lack of prospects and loneliness, he began to suffer bouts of insomnia and his strength began to fail. Sofija traveled to St. Peters~ burg where she found Mikalojus in poor health and spirits. Following the advice of a psychiatrist, she brought her husband home to Drilskininkai. In 1910, he had to be placed in a sanatorium outside War saw. While no documents of his medical history have survived, his diagnosis, in modem medical terms, would no doubt be schizophrenia.6 Following the collapse that resulted in his hospitalization, he was

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26 CHORAL JOURNAL • October 2005 A - gnus De - qui to

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never able to resume his creative work. pieces (Kyrie, Gloria, Agnus Dei) exist harmonically and formally it is quite so In the spring of 1911, he caught a cold' in two manuscript versions-with text phisticated, even if it were not the work that developed into pneumonia. He died and without text, suggesting that the of a student. on April 10, 1911, and was laid to rest in composer intended them for performance Ciurlionis composed two additional the Rasos Cemetery in Vilnius on April not only with choir, but also for organ Mass movements, Kyrie II and Sanctus; in 13. The remainder of this article' will alone.? V. Landsbergis has noted that Leipzig in 1902. Romaldas MisiukeviCius focus on Ciurlionis' choral oeuvre. these "youthful pieces are not lacking in notes that these movements were pub Ciurlionis' choral compositions can be expression and vividness" and that "more lished in several collections and "are divided into three groups: original com than one of them merits peliormance.,,8 among the most mature and most often positions on religious texts (1898-1902), Figure 1 is an excerpt of Ciurlionis's performed compositions of Ciurlionis."9 harmonizations offolk songs (1905-08), three-voice Agnus Dei from 1898. Both Avenir Mikhailov (1914-1983), famed and original compositions on the words of Sofija Kymantaite-Ciurlioniene (1908-09). Three Mass movements, written in 1898 while Ciurlionis was a student at Sing to the world in concert with the Warsaw Institute of Music, were pub Witte Travel & Tours. Our expertise guarantees careful attention to travel lished for the first time in 1993. Darius and performance details, customized KuCinskas, who edited these works for itineraries, well-received concerts, publication, points out that each of these and a memorable tour for your entire group.

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October 2005 • CHORAL JOURNAL 27 J fI u Andante con moto f S t!J Sane - tus, sane - tus, De-us- Sa - ba - flu f A - "-' Sane tus._ sane tus, i;';;':'us Sa - ba - Jl # f T ~ Sane-tus, sane- tus, sane - tus Do-mi-nus- Do-mi-nus ~s Sa-ba- ~ f ...u. : J' ./J "':" 17 B

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conductor of the Leningrad State Glinka Academic Choir, frequently programmed Ciurlionis' Sanctus and referred to the I piece as one of the most vivid examples of this genre in the literature of music. 10 Ciurlionis' Sanctus is not a typical setting Experiellce of the text. He employs dotted rhythms, 'W~,have planned divisi, and sudden significant changes in performing arts tours>:,. dynamics to impart a sense of high drama for ,50 years ... and it shows. to the angels' declamation (Figure 2) . .'. ",.', "".\" "," The cantata De profundis (1899), . The care you tbok in }vorki;g'1¥ith: ' .: the locaZ.col1cert organizerstd.:" cantata for mixed choir and orchestra or assure a positive experience for piano, is the composer's diploma work the cHoiHepresents the highest< from the Warsaw Institute of Music. It is 'levelofachievement in yO~lr indl/stry.. This is where ACFE~ his only concerted choral work, all others " true colors shine: ' '. being unaccompanied. De proftindis was

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28 CHORAL JOURNAL • October 2005 premiered by the composer in Vilnius by the question in male voices, .choir. Ciurlionis took very seriously the in 1908 with piano accompaniment, the 'Who, then, oh Lord, will be task of providing an artistically satisfying orchestral parts apparently having been righteous before You?,' sounding in and appropriately challenging body of added at a later date. The text of De pro the empty space over the remaining folk song adaptations. Regarding this task fundis is based upon the first eight lines tremolo of the 'depths.' The reprise, he wrote the following to his peers: "Let's of Jan Kochanowskis' metrical transla slightly modified, expanded, and not forget the big responsibility that we tion into Lithuanian of Psalm 130. V. dramatized, ends on a: grim note, have to bear. We are the first Lithuanian Landsbergis has described the piece as full of resignation, offering no composers, and the coming generations follows: answer and no consolation. I I will use our works as examples. We are a kind of link between folk songs and The music is vivid, elated, and De profundis has been recorded by the future Lithuanian music .... "12 dramatic, particularly in its opening Lithuanian National Symphony Orches The pieces for treble voices were and closing sections. In its variety tra and Kaunas State Choir, conducted by intended for use in the new Lithuanian of texture and form, as well as Juozas Domarkas. Figure 3.is an excerpt schools that were being established the important role assigned to the from the opening of De profundis. after many years of czarist prohibition. orchestra and the bold modulations, The second group of Ciurlionis' choral These were published in the small vol the work is unmistakably Neo works consists of harmonizations of folk ume Vieverselis [The Skylark] in 1908. Romantic, while its culminations songs (1905-08). In this group, there are Although they are uncomplicated set are reminiscent of Wagner, whom 26 pieces for treble voices, 25 pieces for tings intended for inexperienced singers, Ciurlionis admired. In the middle mixed choir, and 12 pieces for men's section, where God is addressed they could also be sung by adults. The choir. These pieces were composed dur not with humility but with harmonizations for mixed and men's rationalist elaboration, Ciurlionis ing the time Ciurlionis was the leader voices are significantly more sophisti results. [sic] to a Handelian fugato of the choir of the Lithuanian Society cated, characterized by more elaborate in a major key. With the dawning of Mutual Aid in Warsaw and, later, the textures (canons, counterpoint) and dar realization of just whom is being choir of the "Vilniaus Kankles" Society. ing chromatic harmonies that were signal addressed, however, an impressive These choirs lacked for Lithuanian rep in Lithuanian music of the period. These psychological contrast is provided ertoire, especially folk songs adapted for stylistic tendencies are derived from the

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October 2005 • CHORAL JOURNAL 29 Andante p ~======-

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sutartine, a genre of polyphonic folk In that black boat sat a young man. In like manner, each of Ciurlionis' folk song unique to Lithuania. The principal "Come here, young maiden," he said. song harmonizations is composition characteristic of the sutrutine is its con "Come sit in the boat with me." ally unique. The most recent (1995) and struction on simultaneous major seconds complete edition of Ciurlionis' folk song that are not resolved. Ciurlionis' mastery Translation by Joseph A. Graves. settings is Liaudies dainos chorams [Folk of contrapuntal technique is clearly il Used by permission. Songs for Choirs] published by the firm lustrated in Bekit, Bareliai [To the End of Jonas Petronis, Kaunas. All 25 of the of the Field] for four-part men's voices Both Bekit, Bareliai and Siunte Mane harmonizations for mixed choir have unaccompanied (Figure 4). A translation Mociute illustrate Ciurlionis' under been recorded by the chamber choir of the text follows: standing of the archaic modal character JAUNA MUZlKA, under the direction of of Lithuanian folk songs and his abil Vaclovas Augustinas. 13 Move quickly, mow, ity to emphasize that character through The third group of Ciurlionis' choral Move quickly, mow, harmonic means and textural- means. output, dating from 1908-09 and mark- o the end of the field. Move quickly, mow.

Translation by Joseph A. Graves. 1 Used by permission,

Siun - te ma ne mo-ciu - te jU - res Figure 5 presents Siunte Mane MoCiute J~...l do :i :i [My Mother Sent Me Away], a charming '-' and harmonically sophisticated miniature :1 ~ '--' for four-part mixed voices unaccompa 5 nied. A translation of the text follows: '-' van - de - ne - lio, i jU - res van-de-ne-lio. Mama sent me to the sea to fetch 'J q:i some water n:.J with a linden bucket of white on a

copper-hooked pole to carry it. Figure 5. M. K. Ciurlionis, Sillnte Mane MoCillte, lUlU. 1-9. As I was scooping upthe water, a © 1998 Kaunas: Petronis Editions. Used by Permission. black rowboat drew near.

30 CHORAL JOURNAL • October 2005 ing the final chapter of his musical cre To war! To war! only begun to be known in the western ativity, is comprised of five settings of A brave man called, world through the efforts of musicologist texts by the composer's fiancee, Sofija riding away through the fields. Darius Kucinskas and choir conductor Kymantaite. All five pieces are set for To war! To war! Romaldas Misiukevicius, editors of the men's voices unaccompanied. These collected volumes of Ciurlionis' choral pieces. are musically challenging and Tomorrow you must meet works (Petronis Editions, 1995-2000), were performed by the "more competent" at the door of the council chamber, and recordings by the Kaunas State Choir members of the "Vilnius Kankles" Soci all of you-Samogitians and Lithuanians, and fAUNA MUZlKA. While it is true ety chorr.14 The Penki Chorai [Five Cho and all those beyond-will be expected! that musical taste and temperament have ruses] exhibit a wide variety of textures evolved well past the oeuvre of this most and forms based upon the composer's Forests heard the call. talented and sympathetic of composers, desire to express the contrasting texts. The treetops swung wildly, his music was at the forefront of the cre Fugato sections alternated with ho forwarding the message far and wide ... ative impulse during his lifetime and is mophony, free imitative polyphony, word the message of the Headman: thus well deservmg of the attention it is painting, and the juxtaposition of solo To war! To war! . receiving currently. voices, against a background of a more neutral choral palette are reminiscent of Translation by Darius Kucinskas. NOTES Renaissance and early Baroque genres. I Used by permission. karuz~ [To War], excerpted in Figure 6, 1. Adeodatas Tauragis, Lithuanian Music-Past is distinctly madrigalesque in character, Despite his premature death at the age and Present (Vilnius: Gintaras, 1971), clearly demonstrating the composer's use of 36, Mikalojus Konstantinas Ciurlionis 70ff. of word painting in the simulated gunfire is a towering figure in the history of 2. Alfred Erich Senn, "Mikalojus Konstantinas beginning at measure nine. A translation Lithuanian art music and painting. Sadly, Ciurlionis: A Life" (chapter) in Ciurlionis: of the text follows: due to years of czarist and subsequent Painter and Composer/Collected Essays Soviet suppression, his choral works have and Notes, 1906-1989, ed. Stasys

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October 2005 • CHORAL JOURNAL 31 Gostautas (Vilnius: Vaga, 1994),30. 3. Vytautas Landsbergis: M.K. CiurliOliis-Time and Content (Vilnius: Lituanus, 1992), PERFORMANCE MANAGEMENT 25. Landsbergis, an accomplished concert POSITIONS pianist and respected musicologist, served as the first president of Lithuania following the re-establishment of inde Westminster Choir College - pendence in 1991. He has also recorded Rider University the piano works of M.K. Ciurlionis on EMl Records #66791 (2001). Westminster Choir College of Rider University seeks 4. Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), applicants for the following positions in its Performance 31. Management Department: 5. Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), DIRECTOR, PERFORMANCE MANAGEMENT 32. 6. Vytautas Landsbergis: M.K. Ciurlionis-Time Will create, coordinate, and supervise development and and Content (Vilnius: Lituanus, 1992), implementation of master event calendar, scheduling, and 45. performance management. Will implement policy related to 7. Darius Kucinskas: Kyrie, Gloria, Sanctus, facility access and its use, as well as oversee and create related Agnus Dei [introductory remarks] (Kaunas: Petronis Editions, 1998),2. budgets. Minimum of a Bachelor's degree with emphasis on Arts 8. Vytautas Landsbergis: M.K. Ciurlionis-Time Management or Business Management required. Three to five and Content (Vilnius: Lituanus, 1992), years experience managing an Arts-related business necessary, 65. preferably music. Experience with budget management and ,9. Romaldas Misiukevicius: "Preface" to Religious Choir Music (Kaunas: Petronis knowledge of concert/event productions strongly preferred. Editions, 2000), 6. Position # 477001. 10. Romaldas Misitikevicius: "Preface" to Religious Choir Music (Kaunas: Petronis PRODUCTION COORDINATOR. Editions, 2000), 6 Responsible for production aspects of ensembles, opera, music 11 Vytautas Landsbergis: M.K. Ciurlionis-Time and Content (Vilnius: Lituanus, 1992), theater, and concerts, as well as stage management with ushers, 66. ticket sales, and concerts. Will develop procedures and timelines for 12 M.K. Ciurlionis (translated by Romaldas set-ups. Will manage logistics for tours, runouts, and other campus Misiukevicius): Apie muzikq ir dailf2' events. Bachelor's degree required. Degree in Music or Arts, 315. 13 Mikalojus Konstantinas Ciurlionis: preferred. At least 3 years experience in Arts, Music Productions Symphonic Poems, Fugues, String or related activities necessary. Must be highly organized and have Quartet, Piano Works, Folk Songs for ability to multi-task. Position # 477010. Choii's [three CD set], (Vilnius: Semplice, 2000). Please send letter of application, resume, and salary requirements 14. Vytautas Landsbergis: Ciurlionio Muzika to: Manager of Employment, Human Resources, Rider University, [The Music of Ciurlionis], monograph (Vilnius: Vaga, 1985),320. 2083 Lawrenceville Road, Lawrenceville, NJ 08648-3099 or·to [email protected]. Review of applications will begin immediately and continue until positions are filled.

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32 CHORAL JOURNAL • October 2005