Lietuvos idėja Vytauto Barkausko sovietmečio kūryboje

LTStraipsnyje apžvelgiami Vytauto Barkausko sovietmečio kūriniai, ryškiausiai iškeliantys Lietuvos idėjos viziją: chorai "Laisvė", "Lietuva", oratorija "Viltis", penkios simfonijos, "Credo" vargonams, "Legenda apie Čiurlionį" fortepijonui, "Mažoji siuita" fortepijonui, "Koncertinė siuita" violončelei ir fortepijonui ir kt. Lietuvos idėja atsiskleidžia per pamatines demokratiškos ir krikščioniškos valstybės vertybes, kurios tampa kūrybos prasminėmis konstantomis. Jų naudojimo specifika įvairiuose žanruose (įskaitant teksto ir konteksto analizę), tikslas ir poveikis kūrybai yra dėmesio centre. [Iš leidinio]Reikšminiai žodžiai: Kompozitoriaus Vytauto Barkausko kūriniai; Laisvė; Lietuvos valstybės atgimimas; Muzikiniai simboliai; Rezistencija; Tikėjimas; Viltis; Vytautas Barkauskas; Faith; Freedom; Hope; Lithuania; Musical symbols; Rebirth of Lithuanian state; Resistance; Vytautas Barkauskas.

ENVytautas Barkauskas (born in 1931) is one of the few modern composers born in independent Lithuania (Lithuania proclaimed independence in 1918). He suffered the harsh consequences of the state annexation in the 1940s. The history of the Lithuanian musical culture includes Barkauskas first and foremost as a representative of avant-garde art. However, it was important for Barkauskas not only to just refresh musical language and catch up with the West separated by the Iron Curtain, but also to preserve historical memory, hope, and faith in the revival of the state independence. The latter would very often become a driving motivation for his works, especially taking into consideration the fact that it was hard to be a modernist or subscribe to the idea of the state independence in a totalitarian society, particularly for Barkauskas. Lithuania as the Motherland, freedom, truth, hope, faith, and the motif of fight as an expression of resistance and disobedience are the semantical constants of Barkauskas's creation that expresses the core values of the state. They are most prominently expressed in his choral pieces lined with text. The pieces "Freedom", ballade for mixed choir, op. 23 (1971); "Lithuania" for mixed choir, op. 35 (1973); "The Fight for Truth" for baritone and female choir (1984); and "Hope", oratorio for discant, 2 tenors, baritone, bass, two girls' choirs and organ, op. 89 (1988) all together form a logical sequence. The idea of Lithuania is expressed to the greatest extent in the oratorio "Hope" (text by Maironis). This oratorio also captures the mood of the period of the Lithuanian history when the movement "Sąjūdis" leading the struggle for restoring the Lithuanian independence emerged. In instrumental pieces, Barkauskas communicates the core values of the state with the help of symbols and conveys the atmosphere of the time through development and music character.For example, in the non-programme symphonies (symphonies No. 1-5), Barkauskas alludes to the existing occupation, which influenced the concept and dramaturgy of the symphonies and the function of the slower parts of the symphonies and their endings. The aforementioned semantic constants and their musical context are analyzed in the following pieces: "Legend about M. K. Čiurlionis" for piano, op. 30 (1972); "Gloria Urbi", concerto for organ, op. 32 (1972); "Small Suite" for piano, op. 48 (1977); "Credo" for organ, op. 90 (1989); and "Suite de concert" for cello and piano, op. 98 (1993). [From the publication]