ANDANTE OF ČIURLIONIS: VISION AND MUSIC

In the works of Mikalojus Konstantinas Čiurlionis, the Sonata form and its second part Andante acquire other than just a musical meaning. Stepping at a quiet pace becomes a push into space, a rhythm – a vision of world order, restraint, and a breakthrough. In paintings of sonatas, a simple musical term opens up other perspectives, signs, and vital gestures of breakthrough control and protection in cycles of repetition. Thus, the transformation of Andante from Čiurlionis’ Preludes from a vision to processuality leads to the categories of transcendental landscape and then to barely predictable cinematography. The flow of the image – the movement – the view from the bird’s eye is characteristic of the symbolism of Čiurlionis’ paintings, the synthesis with the soundscape, and the sense of transcendence. This way, the Čiurlionian phenomenon emerges – the preludes of the landscape, both in works of art and music (for example, the cycle “Marios” [The Sea], VL 317), and the dramaturgy of the painting reaches the spaces of the metamorphosis of the Sonata. According to the philosopher Naglis Kardelis (2020), “seeing the invisible” begins to hear silence, depicting the pendulum of halted movement. As a result, Čiurlionis’ works become quasi-projective for cinematography, offering the dramaturgy of archetypes and Baltic transcendentalism, minimalism, rhythm monotony, and the uninterrupted flow of suppressed steps, its celestial vault, introduction and the tailpiece, opened to the eternity of heaven. It is illustrated by works of Lithuanian documentary cinematographers, in the second half of the 20th century, struggling to come out of the Soviet era, such as Almantas Grikevičius’ “Laikas eina per miestą” [Time Passes Through the City] (1966), Vytenis Imbrasas’ “Vandens ir vėjo fuga” [Water and Wind Fugue] (1968), Henrikas Šablevičius’ “Kelionė ūkų lankomis” [ Journey Through the Fields of Nebulas] (1973), and by the unique phenomenalism of the transcendental landscape in the modern documentary, possibly owing to the unique talent of camera work by Audrius Kemežis, the cameraman of Audrius Stonys’ films: “Kenotafas” [Cenotaph] (2013) “Moteris ir ledynas” [Woman and the Glacier] (2016), “Laiko tiltai” [Bridges of Time] (2018). In „Cenotaph“, we observe this unique visual-invisible sound involved in the “eternity action” of the sky vaults and treetops. It can be noted that here having the openings for the “journey in time” in the Čiurlionian style landscape like the meanings of the interactions between the history and infinity of nature, the Čiurlionian genesis in contemporary Lithuanian cinematography remains alive and mysterious with its magic, full of the archetypal Lithuanian deep consciousness, still searching for the infinity and shores of existence. Čiurlionis’ becoming in Andante is one of the most striking process qualities; it is the movement of a quiet, restrained pace towards the mystery of these interactions. The flow of the image is both controlling the action and inspiring its transformation towards new boundless ideas of art synthesis. The revealed paradigm of the flow of the image becomes a “cinematic painting” in which the totality of Čiurlionian connections prevails