Dienoraščiai : 1922-1945

LTŠi knyga skirta kompozitoriui Jonui Nabažui (1907—2002), kuris buvo pirmosios kompozitorių laidos, baigusios studijas Kauno konservatorijoje pas prof. Juozą Gruodį, absolventas. J. Nabažo kūrybinio kelio pradžia ir pirmosios sėkmės susijusios su XX a. ketvirtuoju dešimtmečiu, kai jis, linkdamas į impresionizmą, pradėjo eiti netradiciniu to meto lietuvių muzikai keliu. 1937-1939 m. jaunasis kompozitorius dar tobulinosi Paryžiuje, École Normale de Musique pas garsiąją pedagogę prof. N. Boulanger, privačiai lankė A. Cerepnino pamokas. Kone visą gyvenimą J. Nabažas kruopščiai rašė dienoraščius, kurie ir tapo šios knygos pagrindu. Iš jų matyti, kokio plataus būta kompozitoriaus akiračio: jis daug skaitė, keliavo, lankė koncertus, spektaklius, intensyviai kaupė asmeninę biblioteką. Dienoraščiuose jis atsiskleidžia kaip pastabus, subtilus, jautrus žmogus, mėgstantis draugiją, bet branginantis ir vienumą. Šioje gyvenimo kronikoje atsispindi J. Nabažo kasdienybė, įpročiai, pomėgiai, jo akimis matomi artimi žmonės, visuomeninio gyvenimo įvykiai.Reikšminiai žodžiai: Jonas Nabažas; Kompozitorius; Dienoraščiai; Kaunas; Juozas Gruodis; Švietimo ministerija; Paryžius.; Jonas Nabažas; Composer; Diary; Kaunas; Juozas Gruodis; Ministry of Education; Paris.

ENThe composer, Jonas Nabažas, (1907-2002) belongs to the first generation of Lithuanian composers who were educated in Lithuania. His first creative success came with his early works. Among them was Piano Sonata (1931); after its first performance the critics described Nabažas as a 'Lithuanian impressionist', a gifted composer who demonstrated independent thinking. The studies were crowned with the symphonic poem A Song about Sorrow and Joy (1933); for its epigraph Nabažas had chosen a passage from Nietsche's Also sprach Zaratustra. Its first performance took place on November 27, 1936 in the State Theatre in Kaunas. The piece was conducted by Balys Dvarionas; and the famous pianist Arthur Rubinstein participated in the same concert. Nabažas started by choosing the path that seemed unconventional for the Lithuanian music of that time; later, however, he stayed true to the means of artistic expression he had found in his youth and did not aim at radical stylistic variations. In his works, he was kind of a moderately progressive thinker with a great sense of romanticism and that of impres¬sionistic colouring; he never avoided active thematic development, unexpected changes in harmony or a winding variety of tunes. Another aspect of his artistic originality was closely related with Lithuanian folk songs that were also used in his works. Nabažas' musical legacy is not very rich; although large pieces constitute a significant part among his works, he is mostly valued as a master of the miniature. The rich material of the diary formed the basis for the present book whose publication is intended to commemorate the composers 100th anniversary. The book embraces the part of the diary between 1922 and 1945. It is expected that the remaining parts will be presented in the following volume.