What did Lithuanian composers receive the Stalin Prize for? The year 1948 and Lithuanian music
LTStraipsnyje, pasitelkus kelias atvejo studijas, siekiama pagrįsti pastaraisiais metais stalininio laikotarpio muzikinės kultūros tyrinėjimuose iškeltą argumentą, teigiantį, kad 1948 m. rezoliucija dėl formalizmo muzikoje turėjo svarbią įtaką Sovietų Sąjungos meninio elito ir konkrečiai Stalino premijos komiteto požiūriui į tautinių mažumų muzikinę kultūrą. Po Antrojo pasaulinio karo sovietinė muzikos meno doktrina Lietuvoje buvo diegiama kartu su reikalavimu atsakingai perimti rusų klasikinę tradiciją ir naujojo sovietinio stiliaus priemones. Atidžiai stebėta, kaip kompozitoriai prisitaiko prie pakitusių sąlygų, o Stalino premijos teikimas už muzikos kūrinius, atitinkan čius ideologinius reikalavimus, tapo kontrolės svertu ir atitinkamai – šio proceso dalimi. Siekiant suprasti, ar okupuotos Baltijos respublikos tikrai gaudavo didesnį centro dėmesį ir palankumą, pagrįstą ideologiniais motyvais, aptariamos Stalino premijos įteikimo Juozo Tallat-Kelpšos "Kantatai apie Staliną" ir Balio Dvariono "Koncertui smuikui ir orkestrui" aplinkybės. Iš keturių Stalino premiją laimėjusių lietuvių kompozitorių kūrinių tik Dvariono "Koncertas smuikui ir orkestrui" liko tarptautiniuose repertuaruose, tačiau ne dėl šio apdovanojimo, bet nepaisant jo. [Iš leidinio]
ENIn his overview of stylistic turning points and the ways of composers’ adaptation in Soviet Lithuania from the perspective of emigration, Vladas Jakubėnas (1904–1976) befittingly mentioned an unexpected leap of several composers “into the first ranks”. In particular, Balys Dvarionas (1904–1972) stood out among other highly successful composers of the older generation: an active pianist and conductor in the interwar period, in the first decade of the second Soviet occupation he became a prolific composer and was the only Lithuanian to win the Stalin Prize for his compositions twice (in 1949 and 1952). The self-possessed Jakubėnas never belittled his friend Dvarionas, with whom he re-established close contacts and kept up correspondence since the mid-1950s, or his other colleagues who were awarded prizes during the Stalin era, although in emigration those awards were directly associated with the Soviet occupation and, after 1953, people avoided referring to them even in Soviet Lithuania. Jakubėnas, an émigré musician who experienced the Soviet art control system during the first Soviet occupation and had a clear under standing of the principles of its operation, was more concerned about highlighting the forced stylistic transformation of Lithuanian music and the consequences of its imposed rapprochement with Russian and Soviet music traditions. It is worth remembering that, after World War II, the most famous Lithuanian composers – Vytautas Bacevičius (1905–1970), Jeronimas Kačinskas (1907–2005), Vladas Jakubėnas, Julius Gaidelis (1909–1983), and others – emigrated, while Juozas Gruodis (1884–1948), a representative of a more moderate style of national modernism and the founder of the Lithuanian school of composers, died early, unable to withstand ideologized criticism and moral pressure.In this environment, the post-war music of both the older composers who became unexpectedly successful (Dvarionas, Konradas Kaveckas, Stasys Vainiūnas) or who made a choice to adapt to the system (Juozas Tallat-Kelpša, Jonas Švedas), and creative representatives of the younger generation (Julius Juzeliūnas, Eduardas Balsys, Jonas Bielionis, Antanas Belazaras and others) evolved as an eclectic mutant, formed by the interbreeding of the budding national style that had just begun to develop in the interwar period, and the great Soviet Stalinist style. Keywords: sovietization, Lithuanian music, Stalin Prize, Soviet policy of national minorities, Soviet Lithuanian identity, socialist realism. [Extract, p. 203-204]
