Reinerio Maria Rilkės poezija naujausioje lietuvių muzikoje kaip eurointegracinis proveržis

LTReinerio Maria Rilkės poezija yra ypatingas transkulturinis fenomenas su muzikai būdingais užkoduotais formavimo principais, skatinantis modernų laiko suvokimą, mąstymą apie meną, egzistencijos prasmę. Tai formuoja savitą rilkiš-ką erdvę muzikos kūryboje, siekiančią tolimų, menamų, nujaučiamų „pažodinių" sferų. Iš dalies ją galbūt galima lyginti su Mikalojaus Konstantino Čiurlionio dailės reikšme muzikai. Lietuvių muzikoje rilkiškasis fenomenas atsirado XX a. pabaigoje, kai po laisvės atgavimo tapo įmanomas dėmesys kultūros euro integracijai bei naujos egzistencinės temos. Pažymėtina ir toji aplinkybė, kad tai ypač su literatūra arba filosofija susijusių kompozitorių kūryba: kompo-zitorių-poetų Algirdo Martinaičio (g. 1950) ir Onutės Narbutaitės (g. 1956), modernizmo intelektualo Mindaugo Urbaičio (g. 1952), linkusios į religijos filosofiją Eglės Sausanavičiūtės (g. 1963). Kūriniai R. M. Rilkės tekstais yra alternatyva ir technologiniam-mechanistiniam modernizmui, kurį poetas suvokė kaip civilizacijos krizę. [Iš leidinio]Reikšminiai žodžiai: Raineris Maria Rilkė; Kultūros eurointegracija; Lietuvių kompozitorių kūryba; Reiner Maria Rilke; Cultural Eurointegration.

ENThe Lithuanian music of the late 20th century, thanks to a change in the geopolitical situation, has opened itself up again to the Western European culture and philosophical problems. The work of the great German poet and thinker Reiner Maria Rilke (1875-1926), his unique ability to penetrate the nature of things and the strong linkage of his poetry with other forms of art (sculpture, architecture, and music), philosophical transcendentalism and the study of individualism and fate - all this seems to become of special importance and affinity to some Lithuanian artists. Four Lithuanian composers - Algirdas Martinaitis (b. 1950), Eglė Sausanavičiūtė (b. 1963), Onutė Narbutaitė (b. 1956), and Mindaugas Urbaitis (b. 1952) -tried to grasp the principal trends in poet's thought and embody them in their musical works. Algirdas Martinaitis conceived his "Vigil" after Rilke's "Vigilien" (I) as the Faustian dualism of European culture - an abyss of individualistic contradictions. Eglė Sausanavičiūtė, in her cantata "Und das Lied bleibt schön" after Rilke's "Das Stunden-Buch", conveyed the thirst for God and life in search of existential meaning.The threatening processes of history, which distort or even break off the threads of people's lives, their horrid beauty projected into a vision that speaks the language of art, exists in "different time", refers to a different space, sublimation of the past, and the unending vitality of art, may well have inspired Onutė Narbutaitė to write her "Epitaph" after the poem "Rose..." engraved on poet's tombstone, and "Gesang" after "Die Weise von Liebe und Tod des Cornets Christoph Rilke". Mindaugas Urbaitis meditated the theme of death and the passage of time in his "Schlußstück" after two Rilke's poems: "O Herr..." from "Das Stunden-Buch" and " Der Tod ist gross" from "Buch der Bilder". When trying to impart the Rilkean spirit through formal means of musical expression, dramaturgy assumes the foremost importance. In most cases, this results in pieces resembling short one-part dramas with multiple superimpositions of temporal layers, consisting of an introduction, "scene" and finale, either close or open. In terms of style, Lithuanian composers remain in modern vein, making use of traditional Lied, Sprechgesang and Gesang (genre close to the air used in church passions) forms and solemn style or, more precisely, their reflections. Separate instrumental episodes, however, represent a departure from these conventions and express a present-day view, startled and full of "apocalyptic premonitions", on Rilke's poetry in the incessant transmutations of musical forms. [From the publication]