Жанр обробки української пісні у творчості українсько-польських композиторів Поділля XIX століття (на прикладі творчості Антона Коціпінського, Віктора Зентарського і Владислава Заремби)

Abstract

У статті досліджено жанр обробки української народної пісні у творчості українських композиторів польського походження XIX ст. – Антона Коціпінського, Віктора Зентарського і Владислава Заремби. Простежено значення української пісні як важливого першоджерела у формуванні творчої спадщини композиторів Поділля, охарактеризовано основні особливості фортепіанного письма на прикладі обробок українських пісень.

В статье исследован жанр обработки украинской народной песни в творчестве украинских композиторов польского происхождения XIX в. – Антона Коципинського, Виктора Зентарского и Владислава Зарембы. Рассмотрено значение украинской песни как важного первоисточника в формировании творческого наследия композиторов Подолья, охарактеризованы основные особенности фортепианного письма на примере обработок украинских песен.

The rich song heritage of the Ukrainian people, representing the spiritual treasures of the nation in the world cultural space, had a significant impact on the development of musical culture of the XIX century and the formation of leading music genres in Ukrainian music. The article explores the genre of processing Ukrainian folk songs in the works of Ukrainian composers of Polish origin of the XIX century Anton Kotsipinsky, Victor Zentarsky and Vladуslav Zaremba. The significance of the Ukrainian song as an important source in the formation of the creative heritage of the composers of Podillуa is considered, the main features of piano writing are described on the example of the processing of Ukrainian songs. So, a significant number of piano compositions by Ukrainian composers of Polish origin related to folklore indicate the depth of interest in folk song and dance sources, their relevance in the artistic worldview of artists and the shaping of interethnic relations in the art of this historical era. Special attention in the study is focused on the active composer transformation of Ukrainian song material in the genre of piano processing in the creations of composer and teacher of Polish descent Vladуslav Zaremba (1833–1902), who was born in Dunaevtsі, Podillya province. The piano heritage of Vladyslav Zaremba has its source almost exclusively in Ukrainian folk song, on the basis of which the national tradition of the folk song processing genre was formed. 18 creations by V. I. Zarembas are joined under a common name “Ukrainski melodii” are marked by lyricism and bright melody. The genre palette of folk songs addressed by Vladyslav Zaremba consists of: family and household – “V kintsi hrebli shumliat verby”, “Chy ya v luzi ne kalyna bula”, “Kozak vidizhdzhaie, divchynonka plache”; lirycal – “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Sontse nyzenko, vechir blyzenko”; as well as cossack – “Hei-zhe vy khloptsi, slavni molodtsi”, burlatska – “Zibralysia vsi burlaky”. A separate group of piano works is composed of songs of literary origin: “Povii vitre na Vkrainu” (lyrics by S. Rudansky, music by L. Alexandrova), “Reve ta stohne Dnipr shyrokyi” (lyrics by T. Shevchenko, music by D. Kryzhanovsky), “Cherevykiv nemaie, a muzyka hraie, hraie, zhaliu zavdaie!” (lyrics by T. Shevchenko), “Stoit hora vysokaia” (lyrics by L. Glibova), “De hrim za horamy” (lyrics by M. Petrenko), belonging to the genre of the song romances. Featured piano works by V. Zaremba have the author’s designation for belonging to the “Dumky” genre. Among them – “Sontse nyzenko”, “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Chy ya v luzi ne kalyna bula” and original piano works – “Dumka”, “Chant d'Ukraine” (“Pisnespiv z Ukrainy”). The fact that the Dumka genre spread in the estates of the Polish aristocracy and among Polish philistines since the 1820’s confirms the particular popularity of V. Zaremba’s piano works in domestic home and parlor music and emphasizes the manifestation of the romantic style of this era. Most of the composer’s treatments are presented in a coupled-variation form. The article outlines the leading role of Ukrainian song as an important source in the building of the composer’s piano heritage, analyzes the main techniques and varieties of the variational development of the main thematic material, traces the connection with folk and professional manners of musical material presentation, and also considers the features of the musical form, harmony and texture of piano treatments by Vladyslav Zaremba.