Vilniaus apylinkių etninis instrumentinis muzikavimas XX a
| Author | Affiliation | |
|---|---|---|
LT |
| Date |
|---|
2014 |
Straipsnyje, remiantis 2002 m. XIV etnoinstrumentologinės ekspedicijos Vilniaus apylinkėse užrašyta medžiaga, nagrinėjamos ir apibendrinamos surinktos žinios apie XX a. liaudies muzikantus, jų grotą muziką bei muzikos instrumentus. Prisimenamas garsiausias šio krašto cimbolininkas Piotr Kačianovskij. Bendrauta su 25 pateikėjais, iš kurių 14 griežė dumpliniais (7 – akordeonais, 5 – armonikomis, 2 – bajanais), 4 – smuikais ir kitais instrumentais (3 – mandolinomis, 2 – cimbolais, 1 – gitara, 1 – balalaika). Vilniaus apylinkėse gyvavo du pagrindiniai ansamblių tipai: styginiai ansambliai ir mišrūs ansambliai. Tyrinėtame regione etninio instrumentinio muzikavimo tradicijos beveik nutrūko XX a. antrojoje pusėje, o praeito amžiaus pabaigoje vos ruseno. Senųjų muzikantų grojimo tradicijų niekas neperėmė, tad jų atlikimo menas baigia išnykti. Tačiau formuojasi naujos tradicijos.
Nevertheless, we should even feel happy to at least have registered these facts of our near cultural past.
The data obtained from the informants indicate that making music, which was highly popular in the regions of Vilnius at the beginning of the 20th century, is a very old tradition. Numerous folk violinists, bellow instrument players and wind musicians had still remained in regions of Vilnius during the expedition. Two major types of ensembles that existed in the regions of Vilnius could be distinguished: string ensembles and mixed ensembles. The research results indicate that stringed instruments and string ensembles were the oldest in the regions of Vilnius. Ensembles consisted of three-five to people who played the following instruments: the violin, the guitar, the mandolin, the balalaika and the folk bass, or the bassetto (called “basetlė”). Mixed ensembles of numerous different compositions also used to exist in the region. They played melodic instruments (the violin), harmonic (the concertina or the bandoneon) and rhythmic ones (the folk bass and drums). After wind instruments gained popularity, pipes were also included in the composition of aforementioned mixed ensembles.
Out of the former vast number of instrumental ensembles, just several brass bands and ensembles of unstable composition had remained in the region at the end of the 20th century. Ensemble-type playing, as well as solo-type music-making discontinued following the surge of a new trend, i.e., dancing. In the regions of Vilnius, traditional music-making started to sag in approximately 1965–1970, when folk musicians achieved a mature age. Expedition results indicate that the musicians’ repertoire mostly consisted of dances and marches. In the region described here, music accompanying dances brought from foreign lands was predominant, like in the remaining part of Lithuania, although music of ethnic Lithuanian dances still occupied a vast part in folk musicians’ repertoire. Next to dances and marches, brass bands used to play mournful and religious tunes. The repertoire used to change together with the changes that dances underwent. It was not difficult for folk musicians to take over and learn the said music. The old age musicians mostly used to learn musical compositions aurally. Quite a number of the compositions played were learned from radio or television. This way, the repertoire of amateur countryside bands would gradually become unified. Folk musicians also experienced great influence of the music they used to hear, as they started to play the highly monotonous repertoire of countryside bands. In the region analysed here, traditions of ethnic instrumental music-making almost became extinct during the second half of the 20th century and were barely alive at the end of the century. Nobody has taken over the music-making traditions of the old musicians, and the art of their performance is on the brink of extinction. Unfortunately, the materials obtained during the expeditions only reflect facts of the past or the present.