Zitos Bružaitės kūrybinis portretas
LTŽvelgiant į šiuolaikinės muzikos kontekstą, galima išskirti du kūrėjų tipus: vieni savo muzikoje siekia stiliaus grynumo, vientisumo, kitų kūryba atrodo stilistiškai marga, kintanti, bet išlaikanti vidinį bendrumą, savotišką kūrybos šerdį. Zitos Bružaitės kūrybinį portretą įsivaizduoju kaip mozaiką, sudėliotą iš skirtingų, tarpusavyje autonomiškų dalelių, o šį spalvingą margumyną į vieną visumą sujungia „bružaitiškasis“ muzikos nuoširdumas ir gyvenimo džiaugsmas. Pati kompozitorė yra sakiusi, kad didelė jos kūrybos ir gyvenimo dalis išauga iš improvizacijos ar žaidimo, tačiau po šia išorine žaisme slypi gilus istorijos, meno, literatūros ir, be abejo, muzikos amato paslapčių išmanymas. Pirmas įspūdis paklausius Zitos kūrybos – jos muzika „haidniškai“ šmaikšti, džiazuojanti, lengvai klausoma ir suprantama. Bet tai tik išorinis, lengviausiai matomas ir girdimas daugiasluoksnės kūrybos apvalkalas, po kuriuo autorė mėgsta paslėpti savo „sekretus“ (Z. Bružaitės žodis), palikti paslaptį, užuominų, kad atlikėjui ir klausytojui būtų intriga „išlukštenti“ šiuos muzikos minčių klodus ir leistis į kūrinio paslapties labirintus. Kad būtų lengviau šiais labirintais klaidžioti, kompozitorė nurodo tam tikrus atskaitos taškus, kurie buvo ir yra svarbūs jos pasaulėjautai. „<...>noriu nei daug, nei mažai – kad klausytojas patirtų mano muzikos slėpinius, žaismingus ir pragaištingus nuotaikų bei spalvų šokius, vedančius mane ir mus visus per brangiausią mums Aukščiausiojo duotą dovaną – gyvenimą“, – sako kompozitorė. [Iš teksto, p. 20]
ENLooking at the context of contemporary music, two types of creators can be distinguished: some of them strive for purity and integrity of style in their music, others’ work seems stylistically varied and changing, but maintains an inner commonality, a creative core. I envision the creative portrait of Zita Bružaitė as a mosaic composed of different, mutually autonomous particles, and this colourful variety is united into one whole by the author’s musical sincerity and joy of life. The composer herself once said that improvisation or play stimulate much of her work and life. However, this posture demonstrates a deep knowledge of the secrets of history, art, literature, and, of course, the art of music. The music is witty, as though by Haydn, jazzy, easy to listen to and understand – these are the first impressions upon listening to Zita’s works. However, this is only the outer, most easily visible and audible shell of her multi-layered work, in which the author likes to hide her “sekretai” (Z. Bružaitė’s word for “mysteries, secrets”), leaving a hint so that the performers or listeners remain intrigued to read these musical thoughts and find their way through the maze of her artwork. To make it easier, the composer stresses key points that have been and are important to her worldview. “I want, neither too much nor too little - for the listener to experience the mysteries of my music, the playful and destructive shifts of mood and colour that lead me and all of us through the most precious gift given to us by God - life,” says the composer. The Lithuanian National Culture and Art Prize, awarded for the universality and emotional openness of her music, only confirms the democratic nature of Z. Bružaitė’s art, because every performer or listen er can discover what is already known while at the same time being invited to learn the language of more complex music.Z. Bružaitė’s music includes the styles and genres of academic, jazz and electronic music, reflections on ethnic music, and the cultural signs of various musical periods. The composer combines all this to create her music’s own unique language. The composer is most fascinated by earlier musical periods, when the flow of time was slower and any art form served as a language of symbols. So, her description of the artist as an artisan caught in inspiration is more acceptable to her. Medieval musical thought resonates with the composer’s own creative nature, which could be expressed by the following triad: modality, linearity, variability. Z. Bružaitė’s beloved microintonation structures, from which the horizontal material of the work is woven, usually consist of three sounds. Therefore, we can talk about metamorphoses of number symbolism, while combining theological symbols with constructive elements. The structure of the medieval motet, the variant strophic form and the focus on the horizontal combination of voices are the recurring motifs of many of Z. Bružaitė’s compositions, which she fills with new content each time. [From the publication]
