Notae ignotae: nežinomas Juozo Naujalio motetų rankraščių sąsiuvinis
LT2019 m. pabaigoje tyrinėdama muzikinius archyvus Lietuvos teatro, muzikos ir kino muziejaus Juozo Naujalio fonde šio straipsnio autorė aptiko sąsiuvinį su iki šiol nežinomais Naujalio natų rankraščiais. Straipsnyje siekiama atskleisti šio reikšmingo šaltinio kilmę, paskirtį, turinį, išanalizuoti jame įrištų giesmių liturginį kontekstą ir tekstų šaltinius, patvirtinti ar atmesti giesmių autorystę. Keliama prielaida, kad sąsiuvinyje įrištas Žemaičių kunigų seminarijos choro, su kuriuo Naujalis dirbo, repertuaras. Išsamesnė naujai atrastų Naujalio motetų analizė atskleidžia, kokią reikšmę jie įgyja paties Naujalio ir bendroje XX a. Lietuvos bažnytinės muzikos percepcijoje. Šis straipsnis – tai platesnio tyrimo, kuriuo siekiama naujai pažvelgti į Naujalio bažnytinę muziką, sukataloguoti jo kūrinius ir kai kuriuos jų pagal rankraščius parengti leidybai, dalis. [Iš leidinio]
ENUntil now, music researchers had not known of the whereabouts of document Am 10.095/1 from the Juozas Naujalis collection at the Lithuanian Theatre, Music, and Film Museum archive as before 2009 it had been located in another collection. The document is a notebook in which separate sheets of music are bound; in total it contains around 36 choral works, of which 29 are completely new motets written by Naujalis based on Latin texts that no one had ever known about. The pieces include originals in the composer’s own handwriting, while others are Naujalis’s works re-written by other musicians. The compositions, which were not all written at the one time (the manuscripts are dated 1912 and 1919), are for a four-voice and threevoice male choir; they were most likely intended for the Samogitian Priest Seminary choir, which Naujalis headed and wrote music for over the course of several decades. The analysis of chant texts in the notebook revealed that these compositions were almost all for Mass processions (they took place each Sunday and on feast days at Kaunas Cathedral, where Naujalis worked). Naujalis’s motets were created based on Gregorian responsories, antiphons, and hymn texts, correlating with these composition forms. The search for the text sources and their analysis revealed that the texts originated from Cantionale Ecclesiasticum, released in Poland in the late nineteenth and early twentieth centuries, widely used throughout Lithuanian churches. In addition to the popular Latin hymns, Naujalis also created motets based on the texts of very rarely encountered procession responsories, which had been printed in only a few cantionales. Thus, with the discovery of this immensely valuable archival document we can supplement the lists of works by Naujalis with unique choral compositions and add to our knowledge of the history of Lithuanian church music. [From the publication]
