Daugiaplanė Katalikų Bažnyčios vargonininko profesija: tradicijų pastovumas ir kaita

LTStraipsnyje siekiama apžvelgti profesinį bažnyčios vargonininko kelią Lietuvoje nuo XIX a. paskutinių dešimtmečių iki šių dienų, išryškinti socialinius veiksnius, lėmusius bažnyčios vargonininko profesijos raidą, išskirti tradicijų kintamumo ir pastovumo tendencijas, atskleisti profesijos daugiaplanį pobūdį. Multifunkcionalumas būdingas daugumai muziko profesijų, bet tai ypač taikytina bažnyčios vargonininko profesijai. Šis straipsnis – kultūrinės plėtros projekto „Atlikėjo polifunkcionalumas muzikiniuose, kultūriniuose ir socialiniuose procesuose“, finansuojamo Lietuvos mokslo tarybos (sutarties nr. MIP-095/2013), dalis. [Iš leidinio]Reikšminiai žodžiai: Bažnyčios vargonininkas; Daugiaplaniškumas; Socialinis statusas; Profesinė kompetencija; Vargonininko misija; Church organist; Multifunctionality; Social status; Professional competence; Mission of organist.

ENThe church organist s profession encompasses a particularly wide spectrum of activity. The church organist is a performer, a teacher, a choir leader, a conductor, a vocal specialist, an improviser, an expert of liturgies, and rather commonly also a composer. Many renowned composers used to play the organ in church at the dawn of their professional careers. In the late 19th and the first decades of the 20th century organists in Lithuania were major prophets of the music culture, educators of the public and organisers of cultural life. They started a choir movement, which then developed into Lithuania-wide song festivals and played a vital role in striving for Lithuanian independence. In the late 19th and in the first half of the 20th century the socio-economic status was one of the important aspects behind the slow growth of the professional competence of the church organist. Organists had to make their living from music, however, besides their main job, i.e. playing the organ at Mass, they were also involved in a number of other tasks without direct relation to the musicians profession. Organists in tiny parishes found themselves in an extremely difficult financial situation. The non-existence of a professional and social status of a church musician and absolute dependency on the employer, who usually had no interest in developing the musical knowledge of the organist, continued to limit the learning opportunities for organists.Started by Juozas Naujalis in the middle of the 20th century, the professional movement of organists strongly affected the professional advancement of church music as well as the overall standard of music performance, and yet it was not professionalism but rather the qualities of sociability and eloquence along with organisational abilities that the church management primarily viewed as the important criteria for the organist. The nature of the multifaccted profession of the church organist has under- gone no material change since the early 20th century to date. Essential and directly interrelated issues of the social status and professional competence of the organist remain unresolved. The professional status of the organist is conditioned by social factors. Addressing the issue of the social status of the church organist could enable the definition of professional requirements for the church musician and the encouragment of organists to choose this profession. The organists mission should be focused nor on the ecumenical needs of the community but on professional church music as a tool to develop collectivity within the Catholic church. The profession of the church organist would then return to its genuine mission of promoting professional musical and spiritual culture within the Church domain and spreading it to the general public assembled into the Lithuanian Catholic church. [From the publication]