Apie kai kurias Mikalojaus Konstantino Čiurlionio fortepijoninių kūrinių interpretacijas
Review of interpretations of Mikalojus Konstantinas Čiurlionis’ piano works

Summary/Abstract: Studies on interpretation of Čiurlionis’ piano works frequently slip out of the outlook of musicologists. The reason may be a troublesome access to the sources and fairly subjective rating criteria. Criticism of interpretation, being an object of musicology, in its scope deals with various phenomena of this field. The main works related to the problems of interpretation of Čiurlionis’ piano pieces are contributed by V. Landsbergis. His analysis of the composer’s manuscripts, textological comments, situation review, etc. makes it possible to have stronger points in the study of live performances. Here, notes and recordings are the principal sources, and they are being analysed in this paper. Čiurlionis’ recordings are collected in records and CDs. The majority of them are stored in the Radio and TV archives. This source creates problems as some recordings have suffered from the imperfections of live performance and low quality films. On the other hand, they are of historical value. They reveal to us Čiurlionis who was heard in various representative concerts and festivals on different occasions. The kernel of interpretation discourse lies in the pedal possibilities. The expression of the composer’s polyphony depends on pedalling (it can be treated either as an expressive demonstration of several independent lines or it can be levelled). In the development of real interpretation, however, one can distinguish five periods of “sonorous Čiurlionis”. The analysed material has revealed that there exist fundamental differences in the perception of the composer’s style. The main turning point is noted when comparing the interpretation traditions of 1948– 1960 (B. Dvarionas, J. Ginzburgas, A. Kuprevičius) with the performance during the last decade of the previous century (V. Landsbergis, P. Geniušas, A. Juozapėnaite et al.).

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