Mindaugo Urbaičio muzika kino filmams (1976–2002)
| Author | Affiliation | |
|---|---|---|
Lietuvos muzikos ir teatro akademija |
| Date |
|---|
2007 |
Straipsnyje aptariama Mindaugo Urbaičio muzika filmams, taip pat jos sąsajos su kompozitoriaus kitų žanrų muzika. Svarstomas ir M. Urbaičio filmų muzikos pobūdis bendrame lietuvių šio žanro muzikos kontekste. Objektas gvildenamas taikant istorinį aprašomąjį metodą.
Mindaugas Urbaitis’ music for movies is analysed historically, i. e. what, where, how it was created, whom the composer cooperated with, etc. The focus is laid on the analysis of the scores style, its basic source being the composers manuscripts. M. Urbaitis made his debut as a movie composer in 1976. It was the year after graduating from Professor Julius Juzeliūnas’ composition department of the Conservatoire (now Lithuanian Music and Theatre Academy). The first score was written for the documentary “Paths Close to Highways” directed by Edmundas Zubavičius. Due to the meager movie budget it was a short ten-page hand-written piece of music. Considering its compositional tehnique, the score did not reveal any novelties – elegiac tones, limpid textures had formed in the other genres of the early composers music. The following project was of a larger scope – music for the movie after the threepart drama “Barbora Radvilaitė” by Juozas Grušas (1982). It was a big work (director Vidmantas Bačiulis). The score consisted of 104 hand-written pages containing 24 musical episodes serving various purposes. Some of them accompanied and enriched the movie characters, the others filled in the insertions between the episodes. The core of the entire musical dramatic composition was dances. They turned into the symbols of the palace where the principal events were taking place. The dance melodies were based upon the motifs of an anonymous composers music piece. Subsequently, the composer created music for two animation movies, “The Tree” (1983) and “Tomorrow, at 11 a. m.” (1985) directed by Nijolė Valadkevičiūtė. These movies needed music of different character, nevertheless, the composer s style remained unchanged – his minimalistic technique of creation dominated and was skilfully applied to the animation genre.[...]