M. K. Čiurlionio Fuga b-moll: genetinė analizė ir urtekstas

LTReikšminiai žodžiai: Chronologinė seka; Du manuskriptai; Fuga b-moll; Fugos kūrybos procesas; Genetinė analizė; Kūrybos ypatumai; Mikalojus Konstantinas Čiurlionis; Opera "Jūratė"; Urtekstas; Chronological order; Creatyve peculiarity; Fuge creation process; Fugue in Bb minor; Genetic analysis; Mikalojus Konstantinas Čiurlionis; Opera "Jūratė"; Two manuscript; Urtext.

ENGenetic analysis is one of the newest methodologies of the analysis of creative works. It was applied only to the analysis of the works of literature but it is also good for musical compositions. Fugue В-major (VL 345) is being analysed using the genetic analysis methodology. At first it was composed as music for the opera ’Jūratė’ but afterwards the Fugue became an independent composition for the piano. Having analysed both manuscripts of the Fugue the process of its creation was established: In September 1908, a thought occurred to Sofija and Konstantinas Čiurlionis to use the Fugue in the prelude to the opera ‘Jūratė’. In October 1908, the prelude was already improvised with the Fugue. Between October 17 and November 28 1908, the prelude of five times and the first times of the Fugue (1 -23rd times) were written in black and violet pencils (in St. Petersburg). In March 1909, 23-39th times of the Fugue were written in the violet pencil. In May 1909, the manuscript of the Fugue was finished in black and violet pencils. In August 1909, the manuscript was corrected and changed a little bit. In November 1909, the Fugue was changed in St. Petersburg once more and rewritten.While analysing the Fugue the same way of arrangement and the structural similarity characteristic of the late Čiurlionis’ music come to light little by little. It is a combination of two parts. The first part is 'sad, almost sombre, strange as the deep of the sea', and the second part 'must appear little by little, follow the light and die away slowly'. We find a structural derivative in various levels and scales. Such an example is seen in the Fugue too. The preparation of the urtext is described after the analysis of the process of the birth of both manuscripts. The priority is given to the second manuscript reflecting the latest and final changes made by the composer. Questionable or indistinctly written places were verified according to the primary manuscript Rl. In such cases when there were doubts concerning both manuscripts, the suggestions by the editors of the Fugue and its performance traditions were taken into consideration. The newest methodology helps to understand the works of art more deeply and universally. The detailed deciphering of the text and its universal analysis make the characteristic peculiarities of a composition more clearly seen, show the creative style of a composer and the way of manuscript writing. At the same time the conditions for further musicological considerations are created. [From the publication]