Čiurlionis pokštauja - tiesosakos mįslės

LTTyrimo objektas: tirti dedikacijomis vadinamus M. K. Čiurlionio kūrinius bei jų temas-eskizus, sukurtus 1900 ir 1902 m. Tyrimo tikslas: bendrame M. K. Čiurlionio kūrinių kontekste pateikti minimu laikotarpiu skurtos pjesės „Lokio riaumojimas“ ir kitų kompozicijų temas-eskizus iš jo kitų kompozicijų katalogo, ir jas interpretuoti semiotiniu aspektu. Uždaviniai: apibūdinti minimų M. K. Čiurlionio kompozicijų pobūdį ir jų atitikimą tiems asmenims, kuriems skiriamos dedikacijos. Rašoma apie kūrinių ir minėtųjų asmenų ryšius, nusakomus naudojant A. J. Greimo semiotiką. Tyrimo metodai: muzikos teorijos, istorijos ir semiotikos tyrimų metodai. Tyrimo šaltiniai: M. K. Čiurlionio kūriniai fortepijonui bei balsui ir fortepijonui, A. J. Greimo semiotikos darbai. [Iš leidinio]Reikšminiai žodžiai: A. J. Greimas; A.J.Greimas; Mikalojus Konstantinas Čiurlionis; Mikalojus Konstantinas Čiurlionis; Paslaptis-melas; Semiotika; Tiesa-netiesa; Tiesosaka; A. J. Greimas; A.J.Greimas; M. K. Čiurlionis; M.K.Čiurlionis; Mystery-lie; Saying the trooth; Semiotics; Semiotika; True-untrue.

ENLithuania and Lithuanians in the past were often associated with the image and epithet of the bear. Therefore, it is not coincidental that we see the bear, the animal that once inhabited the locality, in the coat of arms of Telšiai, the capital of Samogitia, one of Lithuania's regions. In the period of 1889-1900-ies Čiurlionis mainly was writing compositions for piano (e.g. sonatas, variations, fugues, etc) and one of his musical jokes – Waltz in F Major for the grand piano "The Growling of a Bear" belongs to the same period. It has been successfully reproduced from the memory by his friend Viktorija Ablamovičiūtė-Hempliova and now is included in the Appendices section of the composer's Compositions for Piano prepared and edited by Vytautas Landsbergis. According to the musicologist it could be related to the friendly nicknaming of Čiurlionis in his surroundings. The stocky, strong and broad-shouldered Kastukas, who was unbeatable in wrestling, was called "the Lithuanian bear". Čiurlionis's piano pieces, as musical semiotician EeroTarasti pointed, "they have as one of their common features influences from the Lithuanian dainos (...). In his early phase this influence gives rise to either Chopinesque or Skriabin-like mazurkas and nocturnes (...). These works can also be viewed as character pieces in the vein of Schumann and Mendelssohn, belonging to the genre of romantic, rhapsodic piano preludes (...)". The Waltz in question is an example of M. K. Čiurlionis' musical satire. "The Growling of a Bear" is characterized by the contrasts of musical registers, facture, dynamics and other elements of musical language.Musicologist V. Landsbergis has pointed out its bilingual Italian-German writing: Tempo di Valzer. While listening to this playful piece, we can raise the issues of musical joking, music in semiotics, vėridiction, following Algirdas Julius Greimas – the aspects of truth, mystery and lie. Vėridiction can be understood literally as "telling the truth" and, as it has already been mentioned, the term is referring to the axis of opposition – mystery and lie – that is found in vėridiction. In the researcher's opinion, it is a "relative and gradable", "rather fragile thing". In the above mentioned Waltz by Čiurlionis, the axes of truth and lie (Greimas'terms) are presented in a theatrical way and they intertwine playfully in an artistic form. The truth and lie in the piece in question are enacted, i. e. conditional, directed towards the sender-receiver and related to the so-called Greimasian problem of vėridiction that is linked to the categories of being and seeming following the modalities true versus untrue and mystery versus lie. True: the waltz "The Growling of a Bear" has the characteristic meter ¾, texture, agogics; untrue: the situation of the waltz dancing bear; mystery, it is believed that M. K. Čiurlionis depicted himselfin this miniature; lie: the composition was not written by the composer himself but by his cousin V. Ablamovičiūtė-Hempliova who heard and recorded it. [...]. [From the publication]