To the origins of musical rhetoric: a few examples from the Gregorian chant

Prie muzikos retorikos ištakų: keli grigališkosios monodijos pavyzdžiai

Author(s): Aleksandra Pister / Language(s): Lithuanian / Issue: 3/2011

Keywords: musical rhetoric; musical rhetorical figure; musica poetica; Middle Ages; Renaissance; Baroque; Gregorian chant; relationship between words and music

This article studies such examples from the 9th–11th century Gregorian chant, where the text and music are given prominence by the means of the so-called musical rhetoric, allowing these compositional solutions to be described with the definitions of musica poetica. The associative (visual or sonic) ways of combining ecclesiastical texts and melodies, and their variations in the chants are analysed from the perspective of Renaissance and Baroque musical rhetoric. It is pointed out that the roots of musical rhetoric, which peaked in popularity during the Baroque period, were identified in the liturgical chant with the following elements and features characteristic to musical rhetoric: •Expression of language syntax via music, including the imitation of interrogative intonation in the prophetic readings (lectiones), for instance, from the Book of Isaiah, were the musical rhetoric figure interrogatio is used; •Accompanying of words indicating directions (for example, ascend, heaven, descend) with an ascending or descending melody – ascensus and descensus; •Sonic imitation of subjects mentioned in the text (e. g., a dove) – onomatopoeia; •Certain words (for example, listen, rejoice) highlighted with melismas – hypotyposis; •Prominence given to personal names (e. g., God) with rhetorically significant melismas. The article deals with those examples from the Gregorian chant which have an explicit structure of musical rhetoric figures, consistent with their subsequent definitions and usage in music. Although such combinations of melody and words should not be treated as a norm in the repertoire of Gregorian chant, the purpose was to indicate that the musical rhetoric traditions of Renaissance and Baroque periods and the musical rhetorical figures themselves originated from already known compositional ideas and ways of expressing text via music. Thus, rhetorical style of composing music was not a brand new page in the history of music; it reflects one of the many universal strategies of combining words and music that function inside and outside of the chronological boundaries of musica poetica theory and compositional practice.

Regarding Lithuanian urban music repertory at the junction of the 18th–19th centuries

Apie XVIII–XIX a. sandūros muzikinį Lietuvos miestelėnų repertuarą

Author(s): Laima Kiauleikytė / Language(s): Lithuanian / Issue: 3/2011

Keywords: music in Tsarist Lithuania; urbanization of music culture; urban music movement; music repertory; musical pedagogical literature; performer art, publisher Zawadzki; musical score dissemination

The article deals with the topic of the past of the urban music movement undeservedly abandoned by Lithuanian music historians. This time the issue of urban music repertory of the late 18th century and the first decades of the 19th century was chosen as the subject of the publication. The scientific aim of the author was to find out the most typical features of it. Attention was drawn to documentary sources that were little treated from the viewpoint of this discussion, namely to the data on trade in musical scores. It is stated that the Lithuanian urban music culture of the surveyed period was prospering, diverse and Europe-related. The pedagogical literature, considered as an aid to self-education and teaching, acquired special importance at the turning-point of music culture urbanization. The prevalence of church choirs and manor orchestras was overcome by chamber playing that was suitable for town-dwellers and required a distinctive repertory. The exchange in musical scores shows that, at the junction of centuries, the topography of Lithuanian music playing , social environment, forms and genres of playing as well as selection of musical instruments changed with meaning. On a plane of pre-romantic music repertory, the reverberations of the styles of classicism and baroque are seen, and the approaching steps of romanticism are heard. The emphasis was put on the most characteristic points of the discussed music repertory, i.e. chronological timeliness, domination of chamber genres, establishment of transcriptions and positive high professional art level of performers. Therefore, the time of historical, political and social upheavals was also considered to be the time of fateful changes in the Lithuanian music movement. The article does not deal much with Vilnius music culture, researched by other authors. Any example of the presented ones is only a typical reflection on hundreds of others. The traditional methods of scientific research, namely comparison, analysis and synthesis, were used in the article.

The spiritual creation of Stanisław Moniuszko in Vilnius period. Part I: a review, canticles and writings for the organs

Stanisławo Moniuszkos Vilniaus laikotarpio bažnytinė kūryba. I dalis: bendra apžvalga, giesmės ir kūriniai vargonams

Author(s): Laima Budzinauskienė / Language(s): Lithuanian / Issue: 3/2011

Keywords: XIX century; Vilnius; Stanisław Moniuszko; spiritual music; canticles and writings for the organ;

The spiritual creation of a famous composer Stanisław Moniuszko (1819–1872) is a wide and little analysed subject. The main object of the article is canticles and writings for the organ created in Vilnius period (1839–1858), which are analysed in the general context of his work and creation. The first part of this publication deals with the composer’s spiritual and organ music created in Vilnius period (in the second part I will analyse choral music and such great compositions as mass, cantata, litanies, etc.). The task of the article – to analyse canticles and writings for the organ created by Moniuszko in Vilnius period and evaluate them not only in his personal creation practice but also in the general context of Polish and Lithuanian music history. The article presents new facts of composer’s creativity and specifies the old ones. By way of Moniuszko creation is analysed referring to the bibliography of Vilnius, Warsaw and Moscow also letters written by Moniuszko and other published sources. The aim of this article is to supplement with new ideas and observations the former studies, made by Polish and Lithuanian musicologists about Moniuszko’s creative work. The methods used in the article – historical, comparative and synthesis.

The beginnings of the Gregorian chant studies in Lithuania

Lietuviškosios grigalistikos pradžia

Author(s): Jonas Vilimas / Language(s): Lithuanian / Issue: 3/2011

Keywords: church music; Gregorian chant; gregoriana; J. Naujalis; Č. Sasnauskas; T. Brazys

The article deals with the very first publications on the subject of Gregorian chant in Lithuania, written in Lithuanian language. The period of investigation is the first half of the 20th century, since the very first articles on the subject were published in 1909, while the last ones, which are drawn to a closer examination, are the ones published in 1938. The authors of these first articles, essays and studies of the Gregorian chant, were at the same time the founders of the Lithuanian National music, i. e. such composers and church musicians as Juozas Naujalis, Česlovas Sasnauskas and the priest Teodoras Brazys. Their insight, impact, and influence on the Gregorian chant knowledge and, to a certain extent, movement in Lithuania, are discussed in detail in the present article. The attention is paid to their standing within the context of the Gregorian chant movement and studies in general in the above mentioned period.

M. K. Čiurlionis and R. Wagner – two semantic codes of M. Urbaitis’ minimalism

M. K. Čiurlionis ir R. Wagneris – du M. Urbaičio minimalizmo prasminiai kodai

Author(s): Jūratė Landsbergyte / Language(s): Lithuanian / Issue: 3/2011

Keywords: R. Wagner; M. K. Čiurlionis; M. Urbaitis; Tristan chord; minimalism; art transformation; myth; pulse of time; idealism; spirit; self-identity

Minimalism has played a very important role in Lithuanian music. It absorbed the features of folklore and myth and became a national style. One of its originators, the composer Mindaugas Urbaitis (b. 1952) distinguished for intellectual musical insights, created minimalism retroversion to Western music geniuses: J. S. Bach, W. A. Mozart, L. van Beethoven, F. Schubert, F. Chopin, and A. Bruckner. Romanticism was particularly widespread among minimalists, the authors of the new simplicity. It seems that M. K. Čiurlionis was the most popular figure as a large part of compositions of Lithuanian authors, being “under the sign of Čiurlionis” (R . Zubovas) is related to him. However, M. Urbaitis’ entering minimalism may be considered as a special bringing of the titan’s shadow, whose influence is still alive in the world, to the Baltic landscape. For his piece of music M. Urbaitis takes the title of F. Nietzsche’s book “Der Fall Wagner” (“The Wagner Case”, 1888, Turin) in which the philosopher unburdens his heart by demonstrating his adoration and criticism with respect to Wagner. Meanwhile Urbaitis dissociates himself from this and purifies Wagner (even the composition of the performers is minimal: flute, violin and viola), concentrates on spirituality and transcendence of his music and by using the Tristan and Lohengrin leitmotifs as well as the minimalism method (highlighting and repetition of details, openness of form, “sound of silence”) leads them to eternity and light.Another composition by M. Urbaitis, dedicated to M. K. Čiurlionis, is “Ramybė” (“Stilness”, 2000). It was named after the well-known Čiurlionis’ painting depicting the mountain reflected in the water and is not less popular and outstanding than “Der Fall Wagner” (1999). Here Urbaitis uses the motifs from Čiurlionis’ Nocturne (VL 183) cis-moll and Prelude (VL 239) d-moll which are especially romantic with the figurative impulses of “waves”, giving vitality to the static lucid and harmonious state of stillness. “Ramybė” is a composition of restrained piano stylistics (for piano and string quartet) representing spiritual harmony between Čiurlionis and Lithuania in the best way.

String instrument culture of Lithuanians in the USA

Lietuvių stygininkų kultūra JAV

Author(s): Ramunė Kryžauskienė,Jūratė Čitienė / Language(s): Lithuanian / Issue: 3/2011

Keywords: Lithuanian string instrument culture; Lithuanian emigrants; concerts; music; composers, repertoire

The present article analyses Lithuanian emigrants’ culture of string instruments in the USA and discusses the activities of native-born Lithuanians as well as the development of artistic activities of World War II emigrants at DP (Displaced Persons) camps and their integration into the USA music culture; a lot of attention is drawn to analyse (it has not been implemented till now) the artistic activities of a renowned violinist E. Kuprevičiūtė. The traditions of concert life, the repertoire trends and the place of violinists in the context of emigrants’ music culture are described.Lithuanian musicians, who had come to the USA before World War II, managed to more or less successfully develop their artistic activities. Some Lithuanian violinists graduated from music colleges and higher music schools in the USA where they acquired Bachelor’s and Master’s degrees, performed favourably with symphony and chamber orchestras in different cities, played as soloists and carried out pedagogical activities. Highly motivated educationalists delivered lectures at famous music schools: J. Jakaitis (a violinist) taught at L. Beethoven Conservatoire set up by A. Pocius; A. Draugelis (a violinist / composer) was in charge of the Department of Music at California Institute of Technology; M. Digrytė worked in Hasbrouck at music school of further education (New York) and the like. When World War II was coming to an end, some prominent Lithuanian string players emigrated to the USA and developed their professional skills far from the Motherland. They continued their music career, started in Lithuania and cultivated at DP camps. Many Lithuanian string players realised themselves by performing in orchestras: I. Vasyliūnas (a violinist) played in symphony orchestras of Boston and Cambridge; P. Armonas (a cellist) played in symphony orchestras in the south-western and northern suburbs of Santa Barbara, Rochester, Florida and Chicago. Other violinists played in the orchestras of Elizabeth Philharmonic, Newark, NY symphony, Cleveland, Waukegan, Chicago Youth, Civic and other ones; it exhibits a highly professional preparation of Lithuanian string players.Quite many Lithuanian string players organised concerts for the representatives of Lithuanian community, played in various chamber ensembles – duos, trios, quartets. Some performers combined successfully their concert activities and performance in orchestras with private lessons at their established music schools-studios.With the help of active string players such as I. Vasyliūnas, E. Kuprevičiūtė and P. Armonas the Lithuanian string culture became productive: it motivated Lithuanian concert life, promoted professional artistic activities and familiarized foreigners with the values of Lithuanian music art.The performers’ merits especially consisted in propagating Lithuanian chamber instrument music and in stimulating the creation of new opus. Consequently, there appeared mature works by V. Jakubėnas, K. V. Banaitis, J. Gaidelis, J. Kačinskas, J. Švedas. Furthermore, active concert activities encouraged American composer J. Bavicchi to create Sonata-fantasia on the themes of Lithuanian folk songs.A part of Lithuanian violinists exchanged music art for better paid jobs or a performer’s job was complemented by new specialisation. A. Jaras (a violinist) familiarized with piano tuning and regulating methods and made twelve discoveries; S. Kairys combined music performances with a position of a chemist, while others supplemented their activities with specialisation of a choir conductor, an organiser of radio programmes or a composer.

New books

Naujos knygos

Author(s): Laima Budzinauskienė / Language(s): Lithuanian / Issue: 3/2011

Review of: Algimantas Kalinauskas. Ataidai. dirigento atsiminimai. Vilnius: Lietuvos muzikos ir teatro akademija, 2010, 489 p. Čia Priėjo Gorbulskis… Sud. A. Baranauskaitė. Vilnius: Versus aureus, 2010, 136 p. „Gaidos“ Obertonai 1991–2009. Recenzijos, Pokalbiai, Reiniscencijos. Sud. R. Stanevičiūtė. Vilnius: Lietuvos kompozitorių sąjunga, 2010, 554 p. ...

History of Art today: Estonian Example

Dailės istorija šiandien: Estijos pavyzdys

Author(s): Jolita Mulevičiūtė / Language(s): Lithuanian / Issue: 4/2011

Keywords: book review;

Review of: Eeesti kunsti ajalugu / history of Estonian art. vol. 5: 1900–1940. Ed. M. Kalm. Tallinn: Eesti kunstiakadeemia, 2010, 712 p.

Kristiāna Ābelė: the total study about Johans Valters

Kristiāna Ābelė: totalinė monografija apie Johaną Valterį

Author(s): Laima Surgailienė (Laučkaitė) / Language(s): Lithuanian / Issue: 4/2011

Keywords: book review;

Review of: Kristiāna Ābelė. Johans Valters. Rīga: Neputns, 2009, 400 p.

Po raudonąja žvaigžde: Lietuvos dailė 1940–1941 m.

Po raudonąja žvaigžde: Lietuvos dailė 1940–1941 m.

Author(s): Arūnas Streikus / Language(s): Lithuanian / Issue: 4/2011

Keywords: book review;

Review of: Po raudonąja žvaigžde: Lietuvos dailė 1940–1941 m. [Parodos knyga], ed. G. Jankevičiūtė. Vilnius: Lietuvos kultūros tyrimų institutas, 2011.

International conference "Art between two wars"

Tarptautinė konferencija "Menas tarp dviejų karų"

Author(s): Rūta Stanevičiūtė / Language(s): Lithuanian / Issue: 4/2011

Keywords: review

Maintained dissertations in the History of Art in 2011

2011 m. apgintos menotyros disertacijos

Author(s): Lina Balaišytė / Language(s): Lithuanian / Issue: 4/2011

The blood sport fad

Moda na krwawy sport

Author(s): Zuzanna Berendt / Language(s): Polish / Issue: 135/2016

Reviewing Michał Zadara's Orestes (CENTRALA, Zachęta Narodowa Galeria Sztuki, prem.:27 Aug 2016), Zuzanna Berendt analyses the way in which the director plays with the convention of ancient theatre. She shows how the creators translate the structure of the ancient text, including rhetorical monologues and witness testimony, into the present mediatisation of social and political life. The author also writes about the space in which the performance was presented – the room at the Zachęta Gallery, where president Gabriel Narutowicz was assassinated in 1922. Berendt is critical towards the inclusion of present and historical political context, here referred to only through events accompanying the performance and its advertising campaign in the media.

A dance festival, or the dramaturgy of cooperation

Festiwal tańca, czyli o dramaturgii współpracy

Author(s): Karolina Wycisk / Language(s): Polish / Issue: 135/2016

Karolina Wycisk writes about the International Modern Dance Festival Kroki (Cracow, 13-22 May 2016). This year's edition was entitled “The body is (not) enough”. Wycisk looks at the dance performances presented at the festival through the focus of Martina Ruhsam's concept of the “dramaturgy of cooperation”, pointing out the process of creating the performance as a result of cooperation between numerous people with various competences. Wycisk considers Black Peace by Ward/waRD to be the most interesting performance of the festival. It was choreographed, directed and performed by Ann Van den Broek. In the conclusion, the author emphasises that engaging the viewers in the process of producing the performances is part of the festival's “dramaturgy of cooperation”.

Postcards from Distant Worlds

Pocztówki z odległych światów

Author(s): Marcin Bogucki / Language(s): Polish / Issue: 135/2016

Marcin Bogucki reviews two performances directed by Mariusz Treliński at Teatr Wielki-Opera Narodowa: Richard Strauss' Salome (prem. 22 March 2016) and Richard Wagner's Tristan and Isolde (prem. 12 Jun 2016). He describes the similarities and differences between these two works and presents their historical context, claiming that the director has neglected it. He focuses on the strategies of making the operas more modern and concrete applied by the creators of the performances. Salome deals with the question of toxic family relationships and sexual molestation, while the title protagonist of Wagner's work is subjected to Freudian analysis. Bogucki is critical towards both stagings, at the same time praising the musical sphere, prepared by the conductor Stefan Soltesz.

MacMAT.ru

MacMChAT.ru

Author(s): Natalia Jakubowska / Language(s): Polish / Issue: 135/2016

Natalia Yakubova reviews Macbeth, directed by Jan Klata at the Anton Chekhov Moscow Art Theatre (prem. 2 May 2016). Klata's performance is analysed within the context of the tradition and legend of MAT, as well as the way it functions nowadays, both in the audience reception and the level of performances shown there today. The author points out that Macbeth does not become only a field for spectacular feats performed by the actors and the director. The most important element of the author's analysis are the consequences of Klata's decision to cast men in the female roles. Yakubova thinks about the key question of Shakespeare's play: “What's he/ That was not born of woman?”. One of the text's notable contexts is Janet Adelman's article “Born of Woman: Fantasies of Maternal Power in Macbeth”.

Witkacy at war

Witkacy na wojnie

Author(s): Janusz Degler / Language(s): Polish / Issue: 135/2016

For Janusz Degler, a review of Krzysztof Dubiński's book Wojna Witkacego, czyli kumboł w galifetach (Wydawnictwo Iskry, Warsaw 2015) becomes a pretext to present the course of Stanisław Ignacy Witkiewicz's service in the Tzar's army. The author shows the importance of the material contained in the book, which Dubiński gathered for 30 years – he points out how competently the book abolishes the myths and legends surrounding Witkacy's service, which had grown over the years. Degler praises the ability to include digressions in a detailed reconstruction of the events of the war – he thinks that even light anecdotes and information builds a multifaceted view of the colonel's life.

Kinetic modernity

Kinetyczna nowoczesność

Author(s): Anna R. Burzyńska / Language(s): Polish / Issue: 135/2016

A review of the two-volume work Wirus mobilizacji. Taniec a kształtowanie się nowoczesności (1455-1795) by Wojciech Klimczyk (Universitas, Kraków 2015), I which a chronological account of the changes in Europe between the end of the Middle Ages and the French Revolution becomes a history of kinesis, the body put into motion by culture and creating culture by its motion. Klimczyk observes how the changing approach towards the body, gender, culture and society influences the development and death of various forms of dance – he analyses not only dance and other forms of movement (including gestures and facial expressions), but also treaties on dance, musical pieces, and iconography (the book is richly illustrated).

More than a book

Więcej niż książka

Author(s): Magdalena Hasiuk / Language(s): Polish / Issue: 135/2016

Magdalena Hasiuk writes about the book 21 myśli o teatrze (Fundacja Win-Win, Instytut im. J. Grotowskiego, Głogowo-Wrocław 2016), edited by Justyna Lipko-Konieczna and Ewelina Godlewska-Byliniak. The author describes a narrative functioning within the realms of language, image and matter, conducted through the focus of the experiences of disabled actors cooperating with Teatr 21. She points out the protagonists' reflections on performance arts - in her opinion, many of them could enter into creative dialogue with those of the great reformers of theatre. She also analyses the essay written by the editors of the book, which situates disability within philosophical, sociological and performative contexts.

Notes about Books

Noty o książkach

Author(s): Anna R. Burzyńska,Beata Kustra / Language(s): Polish / Issue: 135/2016

Robert Jarocki, "Kogo szukał, czego chciał, Rzecz o Jerzym Jarockim"; Mateusz Borowski, "Strategie zapominania. Pamięć i kultura cyfrowa"; Małgorzata Sugiera, "Nieludzkie. Donosy ze sztucznych natur"; "Nikt mnie nie zna, czyli Fredro niekanoniczny", ed. Agata Adamiecka-Sitek; "Rzemiosło teatru" ed. Agata Dąbek, Wanda Świątkowska