| Popis: |
The article discusses the meanings of the painting cycle “Sonata no. 2” by M. K. Čiurlionis, and the historical changes of its exposition order. The question arises of how the title “Sonata of Spring” was given to the painting cycle by the organizers of exhibitions and why this work became so significant in our cultural discourse (the first Vytautas Landsbergis‘ collection of unpublished articles about Čiurlionis (ed. 1965) was also named “Sonata of Spring”. The repoduction of Allegro was chosen for the cover folder of the book). This essay unfolds cultural contexts and recalls the comparison of the structural patterns of various works dedicated to the seasons and especially exploring the theme of spring. The meanings of metaphor of spring in the period of national revival and its semantic nuances in later periods of cultural development are taken into account. The main attention is paid to the reception of Kristijonas Donelaitis‘ (lat. Christian Donalitius‘) text „Pavasario linksmy- bės“ (“The Spring’s Joys”) from his poem Metai (Das Jahr (1818), “The Year”) by the modern Lithuanian community. The chapter was so titled and was composed as the initial text by the first publisher of Das Jahr Martin Ludwig Rhesa, who was about to become a professor of Königsberg university at the year of its edition, became available to purchase in Lithuanian bookstores in Vilnius almost at the same time when Čiurlionis was trying to find accommodation in this city. It was the edition called Pavasario linksmybės (1889) funded by Martynas Jankus in Tilsit. The culminating period of Čiurlionis‘ so called “sonatic” painting coincided with the preparation for editing Donelaitis’ Metai in Vilnius. The Lithuanian audience got acquainted with Donelaitis’ and Čiurlionis’ oeuvre in 1914: the work of the first author was published to commemorate his 200th anniversary; as for the second author, it was the first posthumous exhibition of the largest body of his works. Soon Donelaitis and Čiurlionis took positions of pioneersof national literature and arts while the Lithuanian canons of these fields were still forming. Nowadays, regardless of the conjunctures of various regimes, they remain the most discussed representatives of Lithuanian culture abroad. Their interpretations of the spring also made them role models of the classical (realistic) and modern paradigm in Lithuanian culture. |
