Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality
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Poznań
Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk
2015
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| Schriftenreihe: | Biblioteka Laboratorium Myśli Muzycznej
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| 246 | 1 | 1 | |a Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
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Datensatz im Suchindex
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| adam_text | Spis treści Przedmowa / 9 Preludium. Zagadka artystycznej konwersji / 11 ROZDZIAŁ 1 Muzyka rozniecająca wyobrażenia. Poematy symfoniczne Ciurlionisa / 19 Fenomenologia wyobrażenia Jean-Paula Sartre a / 19 Tytuł jako intencja obrazowa / 22 Muzyka pośród analogonów wyobrażenia. Poemat symfoniczny W lesie / 27 Exemplum. Poemat symfoniczny Morze / 37 ROZDZIAŁ շ Unaocznienie rozniecanych muzycznie wyobrażeń. Malarstwo Ciurlionisa / 47 Pierwsze obrazy / 47 Nieostrość / 53 Wyobrażeniowe powidoki / 54 Przeciw zasadzie indywiduacji / 55 ROZDZIAŁ 3 Wzajemna gra wyobraźni obrazowej i dźwiękowej. Obrazy muzyczne i aforystyczne utwory fortepianowe / Wyobraźnia od fortepianu / 61 Pierwsze Sonaty / 65 Bez tytułu VL 306 i Allegro z Sonaty słońca / 66 Bez tytułu VL 307 i Scherzo z Sonaty słońca / 72 Bez tytułu VL 309 i Alłegro z Sonaty wiosny / 75 Bez tytułu VL 308 i Andante oraz Scherzo z Sonaty wiosny / 78 Spójność cyklu / 81 Bez tytułu VL 310 i Sonata wężowa / 81 Bez tytułu VL 318 i Sonata gwiazd / 85 Preludia i Fugi / 90 7 61
Sonata morza i Pejzaże fortepianowe „Morze / 97 Powrót do muzyki. Fuga jodły i fuga VL 345 / 104 Zakończenie / 107 ANEKS 1 Zasady konstrukcji schematów analitycznych kompozycji fortepianowych Čiurlionisa / 111 ANEKS 2 Chronologia twórczości Čiurlionisa w latach 1907-1909 / 113 Bibliografia / 115 Ciur]ionis s double discovery: explorations of musical imagery and pictorial musicality - Summary / 119
Bibliografia Materiały źródłowe Wydawnictwa nutowe Čiurlionis Mikalojus Konstantinas, В лесу/Miške, Leningrad 1975. Čiurlionis Mikalojus Konstantinas, Jūra (Das Meer), Eduardas Balsys (red.), Monachium 2006. Čiurlionis Mikalojus Konstantinas, Kūrimai Fortepijonui. Visuma/ Compositions for piano. Completed, Vytautas Landsbergis (red.), Kowno 2004. Kučinskas Darius, Čiurlionis. Piano Works (URTEXT), Yamaha Music Media Corporation, Tokio 2011. Katalogi twórczości Chronologinis Mikalojaus Konstantino Čiurlionio muzikos katalogas, Darius Kučinskas (red.), Nagrania Kowno 2007. W elektronicznej wersji dostępny na stronie http://www.ciurlioniokuriniai.lt/, dostęp on-line 20.05.2014. Mikalojus Konstantinas Čiurlionis. Piešimo albumėlis (Nr. 7)/Sketchbook (No. 7) 1907-1908, Kowno, Wilno 2009. Mikalojus Konstantinas Čiurlionis: twórczość, osobowość, środowisko [katalog wystawy], Kow no 2001. Landsbergis Vytautas, Čiurlionio muzika [katalog], Wilno 1986. W elektronicznej wersji do stępny na stronie http://www.mic.lt/en/classical/persons/works/ciurlionis, dostęp on-line 20.05.2014. http.//www.ciurlionis.eu/, dostęp on-line 20.05.2014. Lahusen Nikolaus, Zubovas Rokas, Mikalojus Konstantinas Čiurlionis. The Complete Piano Music, Celestial Harmonies, 2010. Landsbergis Vytautas, M.K. Čiurlionis. Kūrimai fortepijonui, Lietuvos nacionalinė filharmo nija, 2009. Duozas Jomarkas, Slovak Philharmonic Orchestra, Mikalojus Konstantinas Čiurlionis (Lithu anian composer). The Sea, In the Forest, Five Preludes, Marco Polo, 1993. Zubovas Rokas, M.K. Čiurlionis. Compositions for Piano, PI „Impetus
musicus , 2011. Literatura przedmiotu Adomavičienė Nijolė, Biography, http.//www.ciurlionis.eu/, dostęp on-line 20.05.2014. Andriušytė-Žukienė Rasa, M.K. Čiurlionis: tarp simbolizmo ir modernizmo, Wilno 2004. —, Swoistość twórczości Ciurlionisa a sztuka początku XX wieku, [w:] Mikalojus Konstantinas Čiurlionis: twórczość, osobowość, środowisko [katalog wystawy], Kowno 2001, s. 14-29. Baranowski Tomasz, Estetyka ekspresjonizmu w muzyce XX wieku, Białystok 2006. Daunoravičienė GraZina, Povilionienė Rima (red.), Mikalojus Konstantinas Čiurlionis. Jo la ikas ir mūsų laikas/His time and our time, Wilno 2013. Ditkowska Natalia, Wczesna twórczośćfortepianowa Mikalojusa Konstantinosa Ciurlionisa z lat 1896-1903, praca magisterska, maszynopis, Instytut Muzykologii Uniwersytetu War szawskiego, Warszawa 1998. Dobużyński Mścisław, Čiurlionis In St. Petersburg (1908-1909), [w:] Stasys Goštautas (red.), Čiurlionis: Painter and Composer. Collected Essays and Notes, 1906-1989, Wilno 1994, s. 160-165. Dufrenne Mikei, Phénoménologie de l expérience esthétique, 1.1, Paryż 1992. 115
Eberlein Dorothea, Čiurlionis, Skrjabin und osteuropäische Symbolismus, [w:] Karin von Maur (red.), Vom Klang der Bilder, Stuttgart 1994, s. 340-345. Eigeldinger Jean-Jacques, Chopin w oczach swoich uczniów, tłum. Zbigniew Skowron, Kra ków 2000. Fedotov Vladimir M., Polyphony in the paintings ofM.K. Čiurlionis, „Leonardo 1995, t. 28, որ 1, S. 53-56. Francastei Pierre, Twórczość malarska a społeczeństwo, tłum. Jolanta Karbowska, Anita Szcze pańska, Warszawa 1973. Friedmann Michael, A Methodologyfor the Discussion of Contour: Its Application to Schoenberg s Music, „Journal of Music Theory 1985, nr 29, s. 223-248. Gaji Magdalena, Correspondence des arts w twórczości M. K. Čiurlionisa na przykładzie poematu symfonicznego „Morze , praca magisterska, maszynopis, Instytut Muzykologii Uniwer sytetu Jagiellońskiego, Kraków 1991. Giszter Elżbieta (red.), Mikalojus Konstantinas Čiurlionis. Litewski malarz i kompozytor, Kato wice 2006. Gmys Marcin, Młodopolskie morze muzyczne: Čiurlionis i Fitelberg, [w:] Marcin Gmys, Harmo nie i dysonanse. Muzyka Młodej Polski wobec innych sztuk, Poznań 2012, s. 430-450. Golianek Ryszard Daniel, Muzyka programowa XIX wieku. Idea i interpretacja, Poznań 1998. Goštautas Stasys (red.), Čiurlionis: painter and composer: collected essays and notes, 1906-1989, Chicago 1994. Holm-Hudson Kevin, Kučinskas Darius, Plane isometries in the music ofM.K. Čiurlionis, [w:] Richard Pamcutt, Annekatrin Kessler, Frank Zimmer (red.), Proceedings of the Conference on Interdisciplinary Musicology, Graz 2004. W wersji elektronicznej dostępny na stronie:
http://www.uni-graz.at/richard.pamcutt/cim04/ CIM04_paper_pdf/Holm-Hudson Kučinskas _CIM04_proceedings.pdf, dostęp on-line 20.05.2014. Ingarden Roman, Utwór muzyczny i sprawa jego tożsamości, [w:] Roman Ingarden, Studia z estetyki, t. 2, Warszawa 1958. Iwaszkiewicz Jarosław, Jan Sebastian Bach, Kraków 1968. Jakubenas Vladas, M.K. Čiurlionis - The Composer, [w:] Stasys Goštautas (red.), Čiurlionis: painter and composer: collected essays and notes, 1906-1989, Chicago 1994, s. 439-442. Juszczak Wiesław, O symbolizmie - o ekspresjonizmie ֊ o przestrzeni. W związku z twórczością M.K. Čiurlionisa, [w:] Wiesław Juszczak, Fakty i wyobraźnia, Warszawa 1979, s. 163-171. Kato Ichiro, Čiurlionis, the Lithuanian Composer and Painter, and the Correlation Between Picto rial and Musical Composition, „Jou mal of Baltic Studies 1976, t. 7, nr 1, s. 40-44. Kazokas Genovaitė, The first painted Fugue, [w:] Stasys Goštautas (red.), Čiurlionis: painter and composer: collected essays and notes, 1906-1989, Chicago 1994, s. 318-327. ----, Musical paintings. Life and Work ofM.K. Čiurlionis, Wilno 2009. Kivy Peter, Anthitetical Arts. On the Ancient Quarrel Between Literature and Music, Oxford 2009. ----, Mozart and Monotheism: An Essay in Spurious Aesthetics, „The Journal of Musicology 1983, t. 2, nr 3, s. 322-328. Kučinskas Denius, Muzyka Čiurlionisa, [w:] Mikalojus Konstantinas Čiurlionis: twórczość, oso bowość, środowisko [katalog wystawy], Kowno 2001, s. 35-42. ----, Symmetry in creative work ofMikolajus Konstantinas Čiurlionis, http://www.mi.sanu.ac.rs/vismath/visbook/kucinskas/index.htm,
dostęp on-line 20.05.2014. Kwiotek Katarzyna, O umuzycznieniu malarstwa, [w:] Zofia Weiss-Nowina Konopka (red.), Chopin. Weiss. Fin-de-siècle, Kraków 2010, s. 42-54. Landsbergis Vytautas, Art as an historical Problem, [w:] Stasys Goštautas (red.), Čiurlionis: painter and composer: collected essays and notes, 1906-1989, Chicago 1994, s. 443-451. ----, Čiurlionio muzika, Wilno 1986. ----, Melodie seryjne w muzyce M.K. Čiurlionisa, „Muzyka 1966, nr 3-4, s. 106-112. ---- , Muzyka fortepianowa M.K. Čiurlionisa, „Muzyka fortepianowa. Prace specjalne 1979, z. III, cz. II, s. 7-31. ----, Symbolika dźwięków w twórczości Mikalojusa Konstantinasa Čiurlionisa, „Konteksty - Pol ska Sztuka Ludowa 1993, nr 3-4, s. 150-151. —, The Spring Sonata, [w:] Stasys Goštautas (red.), Čiurlionis: painter and composer: collected essays and notes, 1906-1989, Chicago 1994, s. 373-389. ----, M.K. Čiurlionis. Time and Content, Wilno 1992. ----, Tvorčestvo Cûrlënisa: Sonata vesny, Leningrad 1975. Mann Tomasz, Doktor Faustus. Żywot niemieckiego kompozytora Adriana Leoerkiihna, opowie dziany przez jego przyjaciela, tłum. Maria Kurecka, Witold Wirpsza, Warszawa 1985. 116
Meyer Leonard В., Emocja i znaczenie w muzyce, tłum. Antoni Buchner, Karol Berger, Kra ków 1974. Mond-Kozłowska Wiesna (red.), Stanisław Wyspiański ֊ Mikalojus Konstantinas Čiurlionis: The Neighbouring of Cultures, the Borderlines of Arts, Kraków 2012. —, Angelus Domini and Offering by Čiurlionis: Research into the Picturesqueness of Music and Musicality ofPainting, [w:] Gražina Daunoravičienė, Rima Povilionienė (red.), Mikalojus Konstantinas Čiurlionis. Jo laikas ir mūsų laikas/His time and our time, Wilno 2013, s. 394-410. Morris Robert D., Composition with Pitch-Classes: A Theory of Compositional Design, New Haven and London 1987. Nunokawa Yumiko, Composer-Painter, Čiurlionis and Synthesis of the Arts in Fin-de Siècle Eu rope:from the Viewpoint ofJaponisme, [w:] Wiesna Mond-Kozlowska (red.), Stanisław Wy spiański - Mikalojus Konstantinas Čiurlionis: The Neighbouring of Cultures, the Borderlines of Arts, Kraków 2012, s. 369-386. Okulicz-Kozaryn Radosław, Litwin wśród spadkobierców Króla-Ducha: twórczość Čiurlionisa wobec Młodej Polski, Poznań 2007. —, Dzwony. Zaczynając od listu Eugeniusza Morawskiego do Mikalojusa Konstantinasa Čiurlio nisa, [w:] Elżbieta Giszter (red.), Mikalojus Konstantinas Čiurlionis. Litewski malarz i kom pozytor, Katowice 2006, s. 123-140. Pociej Bohdan, Polskość Chopina, Ewa Sławińska-Dahlig (red.), Warszawa 2012. Polanský Larry, Morphological Metrics: An Introduction to a Theory of Formal Distances, [w:] Proceedings of the International Computer Music Conference, San Francisco 1987. W wersji elektronicznej dostępny pod adresem:
http://hdl.handle.net/2027/spo.bbp2372.1987.028, dostęp on-line 28.07.2014. Proust Marcel, W poszukiwaniu straconego czasu. Uwięziona, tłum. Tadeusz Boy-Żeleński, Warszawa 1979. Reeser Eduard, Muziek in de gemeenschap der kunsten, Rotterdam 1947. Sartre Jean-Paul, Wyobrażenie. Fenomenologiczna psychologia wyobraźni, tłum. Paweł Beylin, Warszawa 1970. Schreiber Ewa, Muzyka i metafora: koncepcje kompozytorskie Pierre a Schaeffera, Raymonda Murraya Schafera i Gerarda Griseya, Warszawa 2012. Sepetis Leonidas, Čiurlionis: The Complete Works for String Quartet [przedmowa do wyda nia], MCA Classics, 1991. Scruton Roger, Art and Imagination. A Study in the Philosophy ofMind, London, Boston, Mel bourne and Henley 1982. Siedlecka Jadwiga, Mikołaj Konstanty Čiurlionis 1875-1911: preludium warszawskie, Warsza wa 1996. Siechowicz Paweł, Pictorial structure ofM.K. Čiurlionis s piano compositions, [w:] Donald Gło wiński, Giacomo Lepri Andrea Pedrina (red.), Proceedings of the Sixth International Conference of Students of Systematic Musicology (SysMuslS), Genua 2014, s. 39-44, http://www.infomus.org/Events/SysMusl3/document/SysMusl3_Proceedings.pdf, dostęp on-line 13.05.2014. -----, The key to M.K. Čiurlionis’s synthesis of the arts, „Rocznik Historii Sztuki 2013, t. XXXVIII, s. 59-70. Staškievičius Danute, Mikalojus Konstantinas Čiurlionis: His Life and Music, M.M. Thesis, In diana University, Bloomington 1981. Szerszenowicz Jacek, Transfer gatunków muzycznych w malarstwie M.K. Čiurlionisa, [w:] Jacek Szerszenowicz, Inspiracje plastyczne w muzyce, Łódź 2008, s. 546-562. —, The
Puzzle of Čiurlionis, [w:] Gražina Daunoravičienė, Rima Povilionienė (red.), Mikalo jus Konstantinas Čiurlionis. Jo laikas ir mūsų laikas/His time and our time, Wilno 2013, s. 65-83. Tarasti Eero, M.K. Čiurlionis and the interrelationships of arts, [w:] Eero Tarasti, Semiotics of Classical Music. How Mozart, Brahms and Wagner Talk to Us, Berlin/Boston 2012, s. 353-368. Tomaszewski Mieczysław, Chopin. Człowiek, dzieło, rezonans, Kraków 2010. Verkelytė-Fedaravičienė Birutė (red.), M.K. Čiurlionis: paintings, sketches, thoughts, Wilno 1997. Walton Kendall, Listening with Imagination: Is Music Representational?, „The Journal of Aesthetics and Art Criticism 1994, t. 52, nr 1, The Philosophy of Music, s. 47-61. Weber Bożena, Čiurlionis Mikalojus Konstantinas [hasło], [w:] Elżbieta Dziębowska (red.), Encyklopedia Muzyczna PWM. Część biograficzna, Kraków 1984, s. 207. Zieliński Jacek Antoni, Čiurlionis i jego wizja czasoprzestrzeni, „Konteksty - Polska Sztuka Ludowa 1993, nr 3-4., s. 137-147.
Čiurlionis’s double discovery: explorations of musical imagery and pictorial musicality1 Summary Some artists fascinate us with twists and turns of their lives. The biogra phy of Mikalojus Konstantinas Čiurlionis hides a mystery of his artistic conversion. He started as a composer and a pianist, but finished as a painter. The disturbing qu estion is - why? It gets even more disturbing when we realize that he refused two work proposals: he could have became a choirmaster in Lublin or a piano teacher at the Warsaw School of Music. Any of them would have given him financial stability. Instead, he began his studies of painting at the Warsaw School of Fine Arts in a zeal to become a painter and died prematurely just before his unique and original works received proper reception. I will try to approach the solution of Čiurlionis s myste ry by tracing the interconnections between his music and paintings. Musical imagery Čiurlionis s first major orchestral work is a symphonic poem In the Forest composed when he was studying in Leipzig Conservatory (1900-1901). As the piece opens with a quiet passage of the strings, it might remind us of the sound made by tree crowns livened up with wind. Such was also the composer s intention. In a letter to his friend - Eugeniusz Morawski - Čiurlionis writes about his work: it begins with quiet, wide chords of strings - such quiet and wide is the rustling of our Lithuanian limbs 2. Thus, we can be sure that when composing his sound poem Čiurlionis held in his mind a memory of his native soundscape. It is meaningful that he gave the title
Rustling of the Forest (1904) to one of his first paintings3. The painting shows a forest of tall trees shaped in the form of a harp, and a gust of wind formed in the shape of a hand playing on the tree trunks represen ting strings of the instrument. Perhaps not surprisingly, harp plays unique and im portant role in the formal structure of the symphonic poem. It can be heard only in a single moment of sudden silence following the culmination of the piece and pre ceding the return of the main subject - a moment of a great expressive power. This may lead us to acknowledge Čiurlionis s sensitivity to synesthetic experience - so mething that is clear to Ichiro Kato who claims that Čiurlionis simply could not have heard the sound of the rustling limbs without actually seeing their colour4. It might be also something slightly different from synesthesia. I suggest that it was imagination triggered by musical sounds. 1 Summary was presented during the 6th International Musicological Student Confe rence-Competition held in April 2015 in Tbilisi, Georgia. It is to be published in its proceed ings. Widened version will be published in Lithuania in the book Čiurlionis in Vilnius , which is the result of the conference held under the same title in Vilnius in April 2015. 2 M.K. Čiurlionis to E. Morawski. Letter dated 8/21th of March 1902. 3 Reproductions of Čiurlionis s paintings can be seen on the webpage www.ciurlionis.eu. 4 Ichiro Kato, Čiurlionis, the Lithuanian Composer and Painter, and the Correlation Between Pictorial and Musical Composition, Journal of Baltic Studies
1976, voi. 7, no. 1. 119
One can be almost sure that Čiurlionis had imaginary visions while playing on the piano a harmonic formula of bells designed by his friend Eugeniusz Morawski. In a letter dated 13-14th of may 1902 Morawski asks Čiurlionis to judge his invention by playing it several times fortissimo. He also describes his intention to use the for mula in his symphonic poem to depict a procession to a graveyard. The bells would ring as if it were a burial of the whole world 5. Čiurlionis answers in a serious manner describing his feelings: Your Bells, although very simple, sound strangely dark and strong. This continuous C# seems unmoved, and the ‘a, e, a, e sequence in bass voice laments, and wants to get out, and destroy the C#, but it cannot. C# sounds continuously great, unmoved. When one listens carefully, it seems that it had no beginning and it won t ever cease to sound. It gets scary and ‘a, e moans even harder. Bells will be great. All is up to the instrumenta tion. If you make it wrong, everything will be lost6. From Čiurlionis s response to Morawski we learn that he found the harmonic formula designed by his friend very impressive. We shall not be surprised that the very first paintings of Čiurlionis represent a procession of dark hooded figures ac companying a dead man on his last route. The first painting of that seven-parts cy cle entitled Funeral Symphony (1903) depicts a tremendous bell which rings inviting those who listen for a funeral procession. What we can see on the paintings might have first been the imaginary vision that Čiurlionis have seen while playing
Morawski s formula of the bells. If this suggestion is true, we can state firmly that Čiur lionis s urge to become a painter stems from his desire to give visible form to the imaginary triggered by musical experience. That would explain the origins of Fune ral Symphony and Rustling of the Forest. To convince those, who are not yet convin ced - there is another clue left by Čiurlionis which leads us to the discovery of the motivations behind his artistic conversion. Another painting created between the two just mentioned - Morning (1903/1904) - shows a white, bearded man with his right arm raised above his head standing behind a lyre made of a goats skull. His gesture makes the sun rise. He seems to be a mystical conductor who begins sym phony of the world in which light (colour vision) originates from a musical inspira tion. Such were also the origins of Čiurlionis s paintings. Pictorial musicality Since then Čiurlionis devoted almost all of his time to painting. He left his second symphonic poem The Sea unfinished for four years. But when he finally returned to it and completed its orchestration in 1907 a new period for his artistic creativity be gan. In the summer of 1907 he started to paint musical paintings. He gave them mu sical titles, i.e. Sonata, Prelude and Fugue, and structured them according to musical rule. To achieve this, he composed short, musical pieces that served as sketches for the structure of his paintings. The compositions were also influenced by pictorial thinking. Melodies - musical lines - where shaped in a way that enabled their trans fer
to the paintings surfaces. The sketchiness of the compositions created in that pe riod is emphasized by the fact that they were often left uncompleted. Previous scholars who commented on Čiurlionis s oeuvre failed to recognize that the piano compositions functioned as sketches to his paintings. This is the rea son why they also failed to accurately describe their musical structure. Some of the scholars, guided by the titles of the paintings, tried to find similarities between mu sical forms of sonata and fugue and the paintings structure, the results remained unconvincing7. 5 E. Morawski to M.K. Čiurlionis. Letter dated 13-14th of May 1902. 6 M.K. Čiurlionis to E. Morawski. Letter dated 9th of June 1902. 7 Such misguided interpretations were offered by Genovaitė Kazokas, Eero Tarasti, Ja cek Szerszenowicz and many others. I argue against the previous interpretations of Čiur lionis s painted Fugue in the article The key to M.K. Čiurlionis s synthesis of the arts, „Rocznik Historn Sztuki 2013, vol. XXXVIII, pp. 59-70. 120
The true story of the beginning of Čiurlionis s invention of pictorial musicality dates back to the summer of 1907. During his stay in Druskininkai he painted his first Sonatas, but, what is equally important, he also came back to composing after a one year break. There are four musical pieces composed while he was also working on his paintings. In Landsbergis s catalogue the pieces have following numbers: VL 306, VL 307, VL 308 and VL 309. The compositions are written for the piano. They are short, but have a very well-thought structure. They differ in texture and character. Each of them served as an inspiration to one or two of the paintings that comprise two first cycles of Čiurlionis s painted Sonatas. In VL 306 Čiurlionis builds a well-planned structure which is ana logous to the form of Allegro - the painting that opens the first painted Sonata tradi tionally called Sonata of the Sun. VL 307 is based on a theme made of two musical fi gures which are repeated one after the other in a manner that suggest unending movement - such is also the structure of Scherzo from the same painted Sonata. Čiurlionis begins to work on the musical structure of his paintings in a manner strictly combining the architecture - as he calls it - of a painting with the form of a musical piece composed as a sketch to that particular painting. When his work proceeds the relation between musical pieces and paintings becomes less strict. He begins to examine in music his ideas for the paintings. This is the case of VL 309 and Allegro from the second painted Sonata (of the Spring). Here the idea
is to hide a sim ple melodic motive of descending second appearing always in a characteristic rhythm short-long (J J) in the middle of the other voices that move in a very regular rhyth mic procession. That idea is transferred to the painting in the form of a pair of trees one tall and thin, the other short and thick - being partially hidden by a cloud of mist. Similar kind of analogy binding a musical piece with a painting can be found in the case of VL 308 and the paintings Andante and Scherzo from Sonata of the Spring. VL 308 is clearly divided in two parts. The characteristic feature of the first is a wavy movement of the bass voice. Its peak is sometimes enforced by a characteristic, punctuated rhythmic motive: ( Л J. or Л J ). Similar feature can be found in An dante, where a steady movement of the hills, repeated also by clouds, is marked at their peaks by the windmills. The second part of VL 308 is also based on that wavy movement of the bass voice, but melodic voices play a long melody that is imitated in a form of a canon. At the top of Scherzo we can see the motive of hills repeated after Andante, and a canonic procession of fantastic buildings hidden under the wa ters of a lake in the space below. Such were the beginnings of introducing musicality into painting. The next step was taken during the next summer. Unlike previous Sonatas that made use of musi cal sketches only in the case of some of their parts, the third four-part Sonata (of the Serpent) was in its entirety inspired by a single musical composition VL 310 which was composed in the previous
autumn. The contour of its thematic melody resem bles the shape of a serpent. Its transformations in the course of the piece can be interpreted according to the way the motive of a serpent is used in each of the four paintings that comprise the Sonata of the Serpent. The most mature form of the correspondence between music and painting, however, Čiurlionis achieved in the case of the Three Piano Landscapes ‘The Sea and the fifth painted Sonata (of the Sea). As the connection in that case is evident, it was widely commented8. What remained unnoticed is the fact that in the third piece Čiurlionis have hidden initial letters of his name MKČ, just as he did in the case of the third painting of Sonata of the Sea. To discover this, one needs to move back to the period when Čiurlionis was experimenting with the symbolic connection of the musical themes with names. He composed cycles of variations on the themes cre ated from the names of his friends (Variations SEFAA ESEC dedicated to Stefania Leskiewicz, Variations BESACAS dedicated to Bolesław Czarkowski and Variations EASACAS the inspiration of which remains unknown). At that time he also created 8 See for instance: Dorothee Eberlein, Čiurlionis, Skrjabin und osteuropäische Symbolismus, in: Vom Klang der Bilder, Stuttgart 1994, pp. 340-345. 121
ft řfl i՛ i ті՛------ 1 i ti і ------ чглт- îfjj· V ì i Jr -----? г* ՝··» 1 ■ W пік—-i ш J՛ d ¡i I m— 1 f —“—* Шш ILUSTRATION1. Musical signature of Mikalojus Konstantinas Čiurlionis (Mikołaj Konstanty Czurłanis) - ’ jf.............. .— MIKOLA J f «il T1 · .fT—J------------- 1........ Į........ f i .......S-f---- f.·...· f kg ՛ *J * . « ...Ii» d i m--J І . i IBI# n dB i J Lfli .... i..... w ■ é я* i ո--------m P*՝ 1!#........ $ d •Ф * * -4** KONST ANTY C ZUR LAN 1 S his musical autograph using a Polish version of his name Mikołaj Konstanty Czurłanis (see Ilustration 1). Initial letters of his names and surname form a sequence of sounds G#-C#-C, that in its enharmonic variant G#-C#-B# can be found in the bass voice in the moment of culmination. The other painted Sonatas explore the solutions of transferring music to pain ting that Čiurlionis invented while working on the paintings described above. Only in the case of the cycle Sonata of the Stars we can trace the connection of its paintings to a particular piece of music. The two finished paintings (two other remained only in sketches) share their structure with VL 318. Apart from the musicality of painted Sonatas, there is a question of the musicality of painted Fugues. Čiurlionis painted three of them (all in the summer of 1908), each was preceded by a Prelude, one was also followed by a Finale forming a trip tych. Informed by his experiences with the first Sonatas Čiurlionis methodically approached the task of transferring into painting the musical idea of fugue. First, he composed three Fuguettes (VL 314, VL
315, VL 316), each of them based on similar theme (first ascending and then descending). What is characteristic for the Fuguettes VL 315 and VL 316 is that when we hear their theme for the last time, we also simul taneously hear all of the material that was used in the composition to counterpoint its theme. Hence, in an instance, we can hear the entire musical material of the fuguette. Similar thing applies when we think of a fugue being painted. When we look at it, it is already given as a whole. The viewer, however, needs time to see all the connections that join the thematic and counterpointing figures that can be found in the space of painting. Čiurlionis uses the illusions of both linear and colour per spective to invite the viewer into this musical journey. The most impressive painted Fugue sometimes called Fugue of the Fir Tree gives us an idea of the continuity of Čiurlionis s creative process in which two arts influ ence and inspire each other. The contour which plays a major role in the structure of the painting was inspired by the contour of the theme of Fuguette VL 315. It shares with it a sequence of three ascending peeks followed by one peek placed lower. Later, Čiurlionis comes back to that contour and composes a musical piece - Fugue VL 345 - based on a theme that is a transformation of the painted contour (its se cond part also resembles the second part of the theme of Fuguette VL 314) the struc ture of which was inspired by the structure of the painting (to be accurate: the struc ture of the diptych Prelude. Fugue)9. * Čiurlionis pursued an
adventurous path of artistic career. He didn t satisfied himself with being a musician but moved on to explore the world of painting. When being a composer, he kept the eyes of imagination opened for impressive vi sions triggered by music. When devoting himself to painting, he didn t forgot his musical training, but attempted to give the painting a sense of musicality and a structure inspired by music. To achieve this, he planned the pictorial structure in the form of a musical sketch which resulted in a highly personal and original musical language of the compositions. Restless in his attempt to bring music and 91 describe the way in which Fugue VL 345 was inspired by the painted Fugue ofthe Fir Tree in the article The key to M.K. Čiurlionis’s synthesis of the arts, „Rocznik Historii Sztuki” 2013, vol. XXXVIII, pp. 59-70. 122
painting close to each other, he decided to transfer his pictorial ideas inspired by music back to the realm of tones. Such were the origins of the Fugue VL 345. Knowing that at the same time he was planning to compose an opera based on Lithuanian mythology that were to be titled Jūratė, we can only imagine what would be the results of transferring his experiences into a great, synthetic form and regret that we will never know the artistic and musical areas that Čiurlionis was heading to conquer. Bayerische Staatsbibliothe Mönchen
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| any_adam_object | 1 |
| author | Siechowicz, Paweł |
| author_GND | (DE-588)1215911998 |
| author_facet | Siechowicz, Paweł |
| author_role | aut |
| author_sort | Siechowicz, Paweł |
| author_variant | p s ps |
| building | Verbundindex |
| bvnumber | BV044914354 |
| ctrlnum | (OCoLC)1193282766 (DE-599)BVBBV044914354 |
| format | Book |
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| id | DE-604.BV044914354 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:04:37Z |
| institution | BVB |
| isbn | 9788376543062 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030307794 |
| oclc_num | 1193282766 |
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| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 122 Seiten Illustrationen, Diagramme, Notenbeispiele |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk |
| record_format | marc |
| series | Biblioteka Laboratorium Myśli Muzycznej |
| series2 | Biblioteka Laboratorium Myśli Muzycznej |
| spelling | Siechowicz, Paweł Verfasser (DE-588)1215911998 aut Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Paweł Siechowicz ; Poznańskie Towarzystwo Przyjaciół Nauk Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2015 122 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Biblioteka Laboratorium Myśli Muzycznej tom 4 Englische Zusammenfassung Čiurlionis, Mikalojus Konstantinas 1875-1911 (DE-588)118676237 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Čiurlionis, Mikalojus Konstantinas / (1875-1911) / krytyka i interpretacja Čiurlionis, Mikalojus Konstantinas / (1875-1911) Muzyka litewska / historia / 20 w Wyobraźnia 1901-2000 1901-1914 Čiurlionis, Mikalojus Konstantinas 1875-1911 (DE-588)118676237 p Musik (DE-588)4040802-4 s Malerei (DE-588)4037220-0 s DE-604 Biblioteka Laboratorium Myśli Muzycznej tom 4 (DE-604)BV042330942 4 Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Siechowicz, Paweł Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Biblioteka Laboratorium Myśli Muzycznej Čiurlionis, Mikalojus Konstantinas 1875-1911 (DE-588)118676237 gnd Malerei (DE-588)4037220-0 gnd Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)118676237 (DE-588)4037220-0 (DE-588)4040802-4 |
| title | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
| title_alt | Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
| title_auth | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
| title_exact_search | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
| title_full | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Paweł Siechowicz ; Poznańskie Towarzystwo Przyjaciół Nauk |
| title_fullStr | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Paweł Siechowicz ; Poznańskie Towarzystwo Przyjaciół Nauk |
| title_full_unstemmed | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality Paweł Siechowicz ; Poznańskie Towarzystwo Przyjaciół Nauk |
| title_short | Wyobraźnia muzyczna Mikalojusa Konstantinasa Čiurlionisa |
| title_sort | wyobraznia muzyczna mikalojusa konstantinasa ciurlionisa ciurlionis s double discovery explorations of musical imagery and pictorial musicality |
| title_sub | = Čiurlionis's double discovery: explorations of musical imagery and pictorial musicality |
| topic | Čiurlionis, Mikalojus Konstantinas 1875-1911 (DE-588)118676237 gnd Malerei (DE-588)4037220-0 gnd Musik (DE-588)4040802-4 gnd |
| topic_facet | Čiurlionis, Mikalojus Konstantinas 1875-1911 Malerei Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030307794&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV042330942 |
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