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Tyrinėjant muzikos archyvus Lietuvos teatro, muzikos ir kino muziejaus archyvo kompozitoriaus Vytauto Bacevičiaus fonde 2019 m. aptiktas trijų iš eilės einančių fortepijoninių pjesių juodraštis. Jis buvo Bacevičiaus Koncerto fortepijonui Nr. 2, op. 17, juodraščio viršelio paskutinėje pusėje. Pjesės nekataloguotos, juodraščio pradžia nuplėšta. Paaiškėjo, kad juodraštį sudaro trys fortepijoniniai etiudai, op. 19, iš jų tik antrasis buvo išleistas 1967 m. Niujorke, o etiudai Nr. 1 ir 3 iki šiol nepublikuoti. Straipsnyje pateikiama nauja informacija apie šiuos etiudus, gauta ištyrus etiudų rankraštinį juodraštį ir surinkus su šiomis kompozicijomis susijusius istoriografinius kompozitoriaus gyvenimo faktus. Etiudai analizuojami kompoziciniu ir kontekstiniu aspektais, atsižvelgiant į Bacevičiaus kūrybinės ir koncertinės veiklos sąlytį. Muziejaus leidimu, straipsnio priede publikuojami visų trijų etiudų, op. 19, rankraštinio juodraščio puslapiai From 1933 to 1934, Bacevičius was quite creative. We can say that the works, including Three Etudes for piano, Op. 19, written during that period perhaps represent Bacevičius’s most original use of musical language. This can be confirmed by the composer’s own description as the period 1927–1939 was a crystallization of his individual style. Having analyzed the manuscript of three etudes Op. 19, we observed Bacevičius’s original compositional solutions and the influence of various composers on his works. Although it is not surprising that his musical style was determined by various factors and the circumstances of the composer’s life (his studies, concert activities, etc.), it should be emphasized that the visible influences of other composers on Op. 19 are closely related to Bacevičius’s concert activities as a composing pianist and his piano repertoire. As shown in the analysis, in Etudes No. 1 and 3, which were not released by the composer, the quite heterogeneous music episodes are connected, but do not always merge, and give an impression of mosaicism. Therefore, it may have damaged the unity of three etudes as a trilogy. We can only guess that it is the reason why these etudes were not premiered in Lithuania. However, taking into account that first, some motifs of the etudes also existed in his Second Piano Concerto, Op. 17, and were woven into his later work Two Grotesques, Op. 20 and second, that all three etudes are related by the characteristic motif of a perfect fourth interval, which is heard at the beginning of each etude, it should be said that these three etudes, Op. 19, reflect well the characteristics of Bacevičius’s works from this period and are worth including in the list of composer’s works. Through this research, the authors of this paper successfully complemented the list of Bacevičius’s piano works and contributed to the preservation of the composer’s legacy. |
