Sakralinis minimalizmas muzikoje: teorinių apibrėžčių ir kūrinių įvairovės labirintai

LTĮvairiaspalvėje XX a. muzikos panoramoje galima išskirti kompozitorius, kurie savo kūryboje akcentuoja Dievo svarbą. Tokių išties nemažai ir jų komponavimo maniera gana įvairi. Tačiau kompozitorių Arvo Pärto, Henryko Góreckio, Johno Tavenerio, Pēterio Vasko, Gijos Kančelio, Sofijos Gubaidulinos tam tikri kūriniai muzikologijos literatūroje neretai apibūdinami kaip sakralinio minimalizmo pavyzdžiai. Ar bendras kompozitorių interesų laukas, tikėjimo ir asketiškumo įprasminimas muzikos išraiškos priemonėmis yra tinkama priežastis tarpusavyje ryškiai besiskiriančius kūrinius vadinti vienu terminu? Kyla problemų minėtų kompozitorių kūriniuose išskiriant sakralinės muzikos bruožus (tai siejama labiau su subjektyviu klausytojo požiūriu) ir patį minimalizmo aspektą. Tai ir yra pagrindinė problema, iškelianti daugiau klausimų – ar sakralinis minimalizmas gali egzistuoti kaip tam tikra minimalizmo atmaina? Kokius kriterijus reikėtų taikyti sakralinei muzikai įvardyti? Ištyrus muzikologijos literatūroje randamus sakralinio minimalizmo apibūdinimus, straipsnyje siekiama išanalizuoti sakraliniam minimalizmui priskiriamus kūrinius ir pasakyti, ar šie kūriniai atitinka apibrėžimuose pateiktos muzikos kalbos bruožus. Reikšminiai žodžiai: sakralinis minimalizmas, minimalizmas, postminimalizmas, naujasis paprastumas, sakralumas, profaniškumas, repetityvumas. [Iš leidinio]

ENIn the multi-coloured panorama of 20th-century music, composers such as Arvo Pärt, Henryk Górecki and John Tavener stand out for their emphasis on the importance of God in their work and life. The description of sacred minimalism is often applied to compositions by these composers in musicological literature. It is sometimes used synonymously with the term “new simplicity”, which emphasises the opposition of new simplicity works to modernist experiments in music. But, is the shared field of interest of these composers, the meaning of faith and asceticism in musical expressions, a good reason to refer to their distinctly different works under one term? The works by the above-mentioned composers are seen as problematic when it comes to describing the features of sacred music (which is more related to the subjective view of the listener), and also the very aspect of minimalism. After studying the descriptions of sacred minimalism found in musicological literature, the aim was to analyse the works attributed to sacred minimalism and to determine whether they correspond to the characteristics of the language of music as defined in the definitions. The compositions analysed in the article – Henryk Górecki’s Symphony No. 3 (1976), Arvo Pärt’s Tabula Rasa (1977), John Tavener’s The Protecting Veil (1988), Gija Kancheli’s Liturgy Mourned by the Wind (1989), Pēteris Vasks’ Musica Dolorosa (1983), Sofya Gubaidulina’s Rejoice! (1981) and Bronius Kutavičius’ Last Pagan Rites (1978) – had many differences between them. Not only did the stylistic approach of each work differ, but also the way their music was composed.There are also similarities that we would attribute to the features of sacred minimalism, but not all of the works fully correspond to the above-mentioned features, and for some of them (e.g., Rejoice!) only a few points seem to be appropriate, and many of the instruments used in the analysed compositions do not fit into the framework of the sacred minimalism definition. There are also similarities in the work of individual composers that would indicate a subdivision of the not-so-clearly defined sacred minimalism into smaller directions. Keywords: sacred minimalism, minimalism, postminimalism, new simplicity, sacrum, profanum, repetitive music. [From the publication]