Особливості фольклорної трансформації в оркестровій творчості Лева Колодуба на основі музикознавчого аналізу "Прилуцької симфонії"

Abstract

У статті досліджено особливості фольклорної симфонізації в оркестровій творчості сучасного композитора Лева Колодуба. На основі музикознавчого аналізу “Прилуцької симфонії” (Симфонія № 8, для юних виконавців), охарактеризовано шляхи, принципи та специфіку трансформації українського народного мелосу в професійній композиторській діяльності митця.

В статье исследованы особенности фольклорной симфонизации в оркестровом творчестве современного композитора Льва Колодуба. На основе музыковедческого анализа “Прилуцкой симфонии” (Симфония № 8, для юных исполнителей), охарактеризованы пути, принципы и специфика трансформации украинского народного мелоса в профессиональной композиторской деятельности музыканта.

The article thoroughly studies the features of folklore symphonization in the orchestral works of modern composer Lev Kolodub. Based on the musicological analysis of Prylutska Symphony (Symphony No. 8, for young performers, premiered in 2003), the ways, principles and specifics of the transformation of Ukrainian folk melos in the composer’s professional work are described.The outstanding composer L. Kolodub’s many-sided creative work is enriching Ukrainian music and distinguishes it in the world cultural space. The composer’s orchestral works or various genre are as follows: symphonies, rhapsodies, overtures, concerts, cycles, plays. They are a part of the repertoire of many Ukrainian and foreign orchestras. The opuses of the artist are actively involved in the musical-educational process; they create a powerful theoretical and practical base for improving the creative skills of young composers and conductors. However, only a small number of the composer’s works have been subject to musicological studies, among which one should mention the studies carried out by O. Bench-Shokalo, K. Bila, M. Zagaikevych, A. Mukha and others. Hence, the topic is relevant due to the need for an in-depth study of L. Kolodub’s orchestral works through the lenses of the folklore origin transformation, in particular, the Prylutska Symphony is of great interest, in which the Ukrainian melos is the basis of the composition structure. The objective of the paper is to study the peculiarities of folklore transformation in L. Kolodub’s orchestral works on the basis of Prylutska Symphony musicological analysis. The background to the creation of Prylutska Symphony dates back to 1994 when the composer created Prylutski Pisni choral cycle, having adapted folk songs of Pryluky region. The main objective that the composer set while creating the Symphony was the preservation and popularization of Ukrainian folk songs. In the program title, L. Kolodub’s note says “for young performers”, which is due to a not so saturated (not typical for L. Kolodub) composition of the orchestra and “eased” manner of orchestral writing. Prylutska Symphony No. 8 consists of four parts, which in their structure somewhat resemble a suite. A cycle form provides a cinematic change of folk themes presented by the composer in vivid adaptations. Thus, in the first part, which has a form of a sonate, the author rethinks folk songs, contrasting by their nature, “Poza Lisom” and “Oi, Ye v Lisi Kalyna”. He provides them with a new figurative content, modifies and phonically colours with the modern methods of orchestral writing. In the second part, connected with the traditions of folk choral singing, the artist uses an authentic melody of the folk song “Zashumila Lyshchynonka”. In the third part, scherzo, one can hear the sound of Ukrainian folk dance melodies (Tantsi Sela Turivka). The composer uses all the possibilities of the symphony orchestra, a rapid whirling of the melody and elastic rhythms of the battery create an image of a massive national holiday. The form of the rondo-sonata of the symphony finale is based on the Ukrainian folk humorous song (“Po Dorozi Zhuk, Zhuk”). Within the composition, there is an interpenetration and synthesis of folk-vocal and professional-instrumental genres, the composer widely uses methods of application, both folklore direct quoting and its creative interpretation. Transforming such forms of national music folklore, such as melody, harmony, rhythm, texture and others, L. Kolodub harmoniously synthesizes them both with classical and modern means of orchestral writing. However, rethinking folk melos the main objective set by the composer is the reproduction of figurative and semantic aspects of the national folklore, of its internal symbolism and profound philosophical content.