Česlovo Sasnausko (1867-1916) Requiem e-mol: kontekstai ir atspindžiai
LTKompozitoriaus Česlovo Sasnausko (1867-1916) Requiem e-moll ciklas yra laikomas pirmuoju ryškiu šio žanro pavyzdžiu lietuvių muzikinėje tradicijoje. Nors jo oficiali premjera įvyko 1915 m., tačiau kompozitoriaus amžininkai Juozas Žilevičius (1891-1985) ir Bronislavas Česnys (1884-1944) tvirtino, kad šis kūrinys - ilgus metus trukusio kūrybinio proceso rezultatas. Apie tai, jog requiem tema kompozitorius gyveno bene penkiolika metų, byloja ir Kauno kurijos archyve saugomi ankstesnio, kuklesnės apimties jo "Missa Requiem" bei dar vieno Requiem kūrinio soprano partijų rankraščiai. Tad šio straipsnio tikslas - aptarti ne patį Requiem e-moll ciklą, o jo ryšius su kitais muzikiniais tekstais - ankstyvesniais paties Č. Sasnausko komponuotais requiem kūriniais, taip pat kompozicijomis, kurias savo bibliotekoje saugojo ir analizavo kompozitorius, pats rašydamas vieną solidžiausių savo darbų. [Iš leidinio]Reikšminiai žodžiai: Lyginamoji analizė; Muzikinis tekstas; Requiem; Česlovas Sasnauskas; Comparative analysis; Musical text; Requiem; Česlovas Sasnauskas.
ENRequiem e-moll by composer Česlovas Sasnauskas (1867-1916) is known to be the first important example of this music genre in Lithuanian music tradition. Even though its official premiere took place in 1915, the composer's contemporaries Juozas Žilevičius (1891-1985) and Bronislavas Česnys wrote in their texts that this piece is the result of a long creative process that lasted for many years. They even claimed that at the St. Catherine Church where Sasnauskas worked he often presented different versions of the Requiem. This opinion may be supported by the manuscripts preserved at the Kaunas Curia Archive, specifically "Missa Requiem" and soprano part of another Requiem. The comparative analysis of Requiem e-moll, "Missa Requiem", and soprano part of Requiem asserts that Sasnauskas was working on the requiem subject for a long time, and his Requiem e-moll is the result of a long research and work in this field. While analyzing its connections with the earlier requiem cycles by Sasnauskas himself, it was noted that the relation is not very close with "Missa Requiem", but some similarities of musical thinking may be observed. Due to the fact that the intonational material of the Requiem cycle could have been directly used in the cycle of Requiem e-moll, we may speak about the direct relation of these works. Meanwhile, Sasnauskas's Requiem e-moll and the works mentioned by Česnys found in the Sasnauskas's library have only fragmented intonational and rhythmic similarities, which may be viewed as the general elements of the requiem genre. Also, some of them are related to Sasnauskas’s Requiem through the contextual space of these works. [From the publication]
