Vilniaus katedros kapela: veikla, personalijos, repertuaras XIX amžiuje

LTKnyga apima platų tyrimo lauką, kurį veikė ne tik istorinės aplinkybės, bet ir nuolat kitusios Vilniaus vyskupijos ribos, po įvairias miesto bažnytines kapelas migravę muzikai ir natų rankraščiai. Kai kurie monografijoje aprašomi buvusios Lietuvos Didžiosios Kunigaikštystės (LDK) muzikinio gyvenimo židiniai yra dabartinėje Baltarusijoje, bet anuomet tai buvo bendra geografinė-politinė erdvė. Taip pat autorė neįsipareigojo aptarti visų Vilniaus ar aplinkinio arealo bažnyčių – minimos tik tos, apie kurių kapelų veiklą pirminiuose šaltiniuose buvo kalbama plačiau. Siekiant užpildyti Lietuvos bažnytinės muzikos istorijos spragas ir pateikti skaitytojams svarbias žinias apie užmarštin nukeliavusius asmenis, šios monografijos objektu tapo Vilniaus katedros vokalinė instrumentinė kapela. Įgyvendinant užsi brėžtą tikslą – atskleisti įvairiapusę XIX a. Vilniaus katedros kapelos veiklą, personalijas ir repertuarą, monografijoje siekta: 1) apžvelgti XIX a. Vilniaus muzikinį gyvenimą, tiesiogiai susijusį su muzikavimu bažnyčiose ir vienuolynuose; 2) įvertinti muzikinį ugdymą Vilniaus vyskupijos bažnyčiose ir seminarijoje; 3) pristačius pagrindines Lietuvos ir Vilniaus bažnyčių kapelas, išskirti Vilniaus katedroje muzikavusių kolektyvų veiklą; 4) apžvelgti bažnyčiose muzikavusių vokalinių instrumentinių kapelų repertuaro sudarymo gaires.5) įvertinti Vilniuje gyvenusio kompozitoriaus Stanisławo Moniuszko (1819–1872) veiklą ir bažnytinius kūrinius; 6) aptarti Vilniaus katedros kapelos XIX a. repertuarą ir jo kūrėjus; supažindinti skaitytoją su kompozitorių Florjano Bobrowskio (apie 1779–1846), Adalbertus Wojciecho Dankowskio (apie 1760–po 1814) ir kitų kūryba; 7) susisteminti Vilnius katedroje skambėjusius užsienio kompozitorių kūrinius; 8) pateikti Vilniaus katedroje dirbusių vokalinės instrumentinės kapelos narių, jų atliekamo repertuaro ir instrumentų sąrašus; 9) sudaryti Vilniaus katedros kapelos XIX a. muzikinių rankraščių teminį katalogą. [Iš Įvado]

ENVilnius, a multinational centre of cultural life, was and is still like an unsolved puzzle in the context of history. The city serves as a link between various European nations and religions. The Lithuanian capital is often described as a bridge between the East and the West, between civilisation and wilderness, geographical fringes and imperial capitals. Vilnius always had more than just one identity, which has marked the polyphony of its name: Jewish Vilne, Polish Wilno, French Vilna, German Wilna, Belarusian Вільня and the Lithuanian Vilnius. After progressive concepts surrounding the evolution of music were rejected several decades ago, canonical narratives about the lamentable state of 19th-century Lithuanian and Vilnius-based church music were abandoned, with critique turning to the historiographical models on which they were based. Critical musicology promoted researchers to focus their attention on the spread and reception of music from earlier ages, including historical research into church music. As the 19th century fades further back in time, there is growing need to review the general cultural context in Vilnius, which has such a strong influence on the image we have of collectives who played music in churches, their activities and repertoire, to look at the city as a centre for the spread of art, secular music and theatre – everything that in one way or an other reflects the church music situation in the period under discussion. For music historians who seek to convey historical processes in as much an objective and unbiased way as they can, it is necessary to look deeper into the social provisions for the existence of separate collectives, the contexts of activity of music creators and performers, as here music was not just being performed, but also created, reproduced, interpreted and alike.Single details concerning the history of Lithuanian church music do reach us from the 18th–19th centuries: scrambled musical manuscripts and printed notes, lists of works, an epistolic legacy, testimonials from contemporaries that are not necessarily thorough or accurate, state institution documents, accounts, inventory books, and so on. In many of these sources only slight mention is made of the main participants in musical life – the musicians (performers and composers, amateurs and professionals), their lives and activities. The discovery of these minimal albeit very valuable fragments of music history opens up the possibility of starting a puzzle of great interest to researchers, creating an at first barely visible then gradually ever more colourful and captivating picture of what we would like to convey to our readers. The 19th century was a unique epoch, one that extended beyond its chronological boundaries. In reality it commenced in 1789 with the French Revolution, and ended in 1914–1918 with World War I. These limits also marked important stages in the history of Lithuania: the end of the existence of the Polish-Lithuanian Commonwealth almost coincided with the French revolutionary wars, while the hopes of liberation and restoration of the independent Lithuanian state coincided with World War I. Therefore, the chronological boundaries of the research conducted for this monograph also extend beyond the factual limits of the 19th century and take in the period from the changes to the historically influenced territory of the Vilnius Diocese to the new wave in church music, associated with nationalism. It is important to understand that in the 19th century, when an independent Lithuanian state did not exist, and when the nation was only on the start of its journey towards modern Lithuanianness, the nature and the content of Lithuania itself also changed.This was a gradual process with no specific end-date. In a review of this considerable period of time, it is evident that this particular period in the history of Lithuanian church music was noted for both high and low points. It was affected and formed by at times advantageous circumstances, or conversely – unfavourable political and cultural situations, and by the actions of individuals who managed to initiate the improvement of church cappellas to professional levels, as well as changes to dominant West European trends, a changing repertoire, etc. The absolute majority of 19th-century church documents and musical manuscripts that have survived are currently held in Lithuanian and Russian state archives and library collections. The most important information on this topic was found in the manuscript, rare prints and music departments of the Lithuanian Academy of Sciences Wroblewski Library (LMAVB), the Martynas Mažvydas National Library of Lithuania (LNMMB) and the Vilnius University Library (VU). Material of particular value for the analysis of the activities of the Vilnius Cathedral cappella is kept in the Vilnius Chapter collection (LMAVB RS, F43), where aside from notes and other valuable documents there are also the original and draft protocols of meetings of the Vilnius Chapter. The monograph consists of three thematic sections. Chapter 1 is about 19th-century Vilnius: the city and its mu sic-playing inhabitants, the diocese, parishes, churches and monasteries, and the music education offered there and in seminaries. Attention is given to the regular and multifaceted music performance in various spaces around the city – from theatre, concert and carnival events to the organisation of music performance in the churches of various confessions, in monasteries and the seminary. [...]. [From the publication]

• Muzikologija / Musicology
• Istorija / History