Kompozitorius Adomas Grigaliūnas
LTStraipsnyje pirmą kartą apžvelgiamas kompozitoriaus Adomo Grigaliūno (1916–1994) gyvenimas ir kūryba. Pokariu emigravęs į Kolumbiją ir ten pelnęs pripažinimą, ilgainiui Grigaliūnas liko užmirštas ir neįvertintas nei Lietuvoje, nei išeivijoje. Prieš keletą metų kompozitoriaus dukrai Nemirai Grigaliūnaitei perdavus tėvo muzikos rankraščius į LTSC Juozo Žilevičiaus ir Juozo Kreivėno lietuvių muzikos archyvą (Čikaga), atsirado galimybė detaliau susipažinti su Grigaliūno kūryba, plačiau pasidomėti atskirais jo gyvenimo laikotarpiais ir pabandyti įvertinti jo indėlį į mūsų muzikinės kultūros raidą. Remiantis įvairiais šaltiniais straipsnyje rekonstruotas Grigaliūno gyvenimas, išryškinti svarbiausi jo kūrybos aspektai, panagrinėti reikšmingiausi kūriniai ir sudarytas išsamus jo kūrinių sąrašas. Apibendrinant prieita prie išvados, kad Grigaliūno kūryba praplečia ir svariai papildo mūsų muzikos istoriją naujais kūriniais ir jos kūrybos aspektais tiek geografiniais (iki šiol mažai tyrinėta išeivijos muzikinė kūryba Pietų Amerikoje, Kolumbijoje), tiek stilistiniais – Grigaliūno simfoniniai kūriniai ir kūriniai fortepijonui atskleidžia dar vieną lietuvių muzikos raidos kelią, kuriuo galėjo vystytis lietuviška muzika pirmaisiais pokario dešimtmečiais. Tai nacionalinės romantinės ir pasaulietinės neoklasicistinės muzikos lydinys su impresionistinės ir serinės muzikos elementais. [Iš leidinio]
ENThe article aims to review the life of the composer Adam Grigaliūnas (1916-1994) and to evaluate his creative legacy for the first time. Born into the family of Vincas GrigaliūnasGlovackis, a famous Lithuanian general, Adam studied in Kaunas and attended Elza Herbeck-Hansen’s piano studio, but after graduating from the gymnasium, he decided to become a doctor and entered the Faculty of Medicine of Vytautas Magnus University in 1935. He studied music privately with Vytautas Bacevičius (piano, composition) and Jurgis Karnavičius (composition). Probably advised by Bacevičius, Grigaliūnas additionally studied music composition at the famous Ècole Universelle in Paris under Adolphe Berchard. During the Kaunas period, he composed over thirty compositions – marches for military band, pieces for string orchestra, pieces for piano solo. However, only three compositions of that period have survived. They testify to a traditional style of music and the Grigaliūnas’s desire to master the composition technique by composing for the various instruments. At the beginning of the first Soviet occupation (1940– 1941), Grigaliūnas, as the son of a Lithuanian general, was arrested and imprisoned. During the German occupation (1941–1944), he worked as a physician in Kaunas. As the second Soviet occupation got closer in July 1944, Grigaliūnas, along with his family and parents, emigrated to the West. As a war refugee (DP – displaced person) he lived and worked in Germany and Belgium. In 1949 he emigrated to Colombia and stayed in Medellin. Here Grigaliūnas revealed himself as a mature composer. His music compositions were recognized and performed in Colombia. Grigaliūnas twice (in 1950 and 1951) participated in the music competition Música de Colombia and his compositions won diplomas. These award-winning compositions were Piano Concerto No. 1 and the symphonic impressions El Magdalena.The works were performed by the Medellin City Symphony Orchestra (conductor Pietro Mascheroni) and famous pianist Luisa Manighetti. The performance of the piano concert was broadcast on La Voz de la Nueva Granda, the main Colombian radio station. The works of the Colombian period are characterized by an expanded dynamic scale and registers, usage of dissonances and chords of fourths, virtuosity of piano technique, and tonal volatility. In 1965 Grigaliūnas moved to the USA. There he expected to receive greater recognition of his music, but the opposite happened. His works were not of interest to Americans or American Lithuanians. As a result, in America Grigaliūnas focused more on family life and on editing his father’s memoirs (General Grigaliūnas-Glovackis), which were published only after Grigaliūnass’ death. In summary, it can be stated that Grigaliūnas’s life and work supplement and expand the history of Lithuanian music with new compositions and traces. Grigaliūnas’s symphonic and piano works demonstrate a much broader and more diverse adoption and usage of global music trends in Lithuanian music than it was known previously. This is undoubtedly linked with Grigaliūnas’s emigration to the West, as the composers who remained in Lithuania during the Soviet occupation (1944-1990) were separated from world music development and trends. Meanwhile, the composers who emigrated to the West (Bacevičius, Jeronimas Kačinskas, Vladas Jakubėnas) quickly took over the innovations of the time and each applied them to the best of their ability. Grigaliūnas’s aspiration to get away from the tradition of romanticism (1950) and to compose modern music with dissonant harmony, serialism, and tonal flexibility confirms the universality of Lithuanian music and is significant for the history of Lithuanian music. [From the publication]
