Риси стилю Василя Барвінського на прикладі сонати ре-бемоль мажор

Abstract

У статті досліджено стильові переваги творчості Василя Барвінського, які свідчать про важливе значення музичної спадщини композитора в європейському мистецькому просторі. Розглянута фортепіанна Соната Ре-бемоль мажор, в якій автор показує чутливість до “покликів” своєї епохи. Охарактеризовано риси зв’язку з музичним модерном у вигляді використання засобів і виразних компонентів неокласицизму, імпресіонізму-символізму, які поєднались із романтично-традиціоналістською палітрою високообдарованого музиканта.

В статье исследованы стилевые предпочтения творчества Василия Барвинского, которые указывают на важное значение музыкального наследия композитора в европейском художественном пространстве. Рассмотрена фортепианная Соната Ре-бемоль мажор, в которой автор показывает чувствительность к “призывам” своей эпохи. Охарактеризованы черты связи с музыкальным модерном в виде использования средств и выразительных компонентов неоклассицизма, импрессионизма-символизма, которые объединились с романтически-традиционалистской палитрой высокоодаренного музыканта.

Style of Vasyl Barvinskyi was studied many times, but only a few spoke about the connection with the musical modern, which was actively developing in the European region. It is this perspective of creativity of the composer is set in the study, on the example of Sonata in В-flat major. V. Kozlov who analyzed the piano Sonata of the Ukrainian artist, stated the romantic features of the genre. It is correct and fair, though the independence of the artistic thinking of the Ukrainian master expanded the expressiveness of his music and the symbolistic and modernistic “call of time”. From the first tacts of the sound of this work lead us into the texture of “sustained voice” of the before Viennese Italian sonatas. In general, the manner in which the author writes is original, marked by a rather expressive form, which in its kind represents the clarity and completeness of the thought of the master. The creative feature of the composer method is the essential reference to national folklore, as well as a number of elements inherent in the late romantic and pro symbolic style of performance. It is, for example, the same name substitution of the main tone of the first part of the B-Flat Major on the do-it-yourself minor in the third part, which symbolically transfer the sound into “sharp”, that is, psychologically “overestimated” detection – and simultaneously inclining the “inverted” use of the cyclization of parts of the whole, not as Beethoven, “from mild to light”, but if it were in the opposite direction. These features of the style and thematic and compositional orientation are determine the creative figure of V. Barvinskyi, on the one hand, as “moderate neo-romanticism with the preponderance of lyricism”, and on the other hand, as a “moderate” symbolist, parallel to E. Elgar, M. Mettern, and others. And all this with obvious reliance on Ukrainian folklore in his generalized non-quotation view, as is observed in K. Debussy and his contemporaries. The author’s sonata occupies a special place in his work, features of the method, which were partially noted above appears in it quite clearly. This is a narrative, lyrical and epic type of presentation in expanded tripartite, in which the orchestral performance of the piano performance of the invoice are being avoided clearly. The influence of folk music and the folklore basis of the thematic material is evidenced by the freedom to use the regular intonations and the principles of their development. Significant scales, attraction to the rich textures, the use of fugues in the final, monotheistic construction attest to the affinity to the romantic traditions of Sonata. However, neoclassical and symbolist reference are present (“erosion” of figurative and thematic contrasts, signs of the ancient sonata da chiesa, eclecticism of stylistic citations in the themes and structure) also take place. V. Barvinskyi used a special way of combining on the basis of one thematic material two different conceptual concepts – the sonate cycle and the form of the theme with variations. The result analysis of Barnivskyi sonata is the awareness that the artist composed his work, being a highly gifted musician, which implies sensitivity to the “calls” of his era. The uttermost appear in the analyzed composition in the form of outright reliance, in the spirit of the Neobaroko, on the ancient church sonata in the compositional decision of the cycle and with the texture of sustained voice (avoiding piano orchestralism) during a large-scale composition. It is also the “erasure” of the faces of parts and sections, a reduction to a detached and monologue, anti-folkloristic presentation of the themes, using the dynamics of the church’s effect of Exclamation.