«Ніч Вифлиємська» Максима Копка в контексті розвитку його музично-театральної творчості

Abstract

У статті висвітлено здобутки Максима Копка в музично-театральному жанрі. Вперше комплексно аналізується музика до п’єси «Ніч Вифлиємська», розглянуто особливості музичної мови, специфічність стилю музики відповідно до тексту твору.

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В статье освещены достижения Максима Копко в музыкально-театральном жанре. Впервые комплексно анализируется музыка к пьесе «Ночь Вифлиемская», рассмотрены особенности музыкального языка, специфичность стиля музыки в соответствии с текстом произведения.

The article highlights the achivements of Maksym Kopko in music and theatric genre. At first in complex it analyzes music to the play «Bethlehem Night» and covers specifics of music language and music style according to the text of composition. In second half of the ХІХ century national and cultural revival in Galicia is connected with the formation and development of Ukrainian theatre whose activities are closely linked with folk traditions, literary works and professional music. It was a branch of musical life that opened broad field to the composers, gave the opportunity to influence on national consciousness of masses. Among Ukrainian leaders that contributed to the rise of cultural and national life in second half of the ХІХ century. Maksym Petrovych Kopko (1859–1919) – a composer, conductor, teacher, public figure – has a significant place. During his activity he contacted closely with the theatre and left for us his music and theatrical works. In the second half of ХІХ century, theatre had a significant place in Western Ukraine. Starting its way in the envitonment of the creators amateurs, fans of theatre performances, it was the most accessible to the viewer. It fit the needs and tastes of different social groups in the most difficult historic times, carried national spirit that helped to overcome the challenges. All of these played a major role in the process and preservation of national traditions, development of professional music art, occurrence of the national school of composition. However, establishment of its forms and traditions began much earlier – from folk «nativity scene» and school performances. The name «nativity» is a combination of two elements – puppet drama or comedy and spiritual drama about Christmas, coming of three kings and Herod. These were the components from which nativity or «shopka» in Polish, appeared. Maksym Kopko as artistic nature, couldn’t avoid such art as theatre. In his works for theatre one can trace the development of folk- stylistic line, that was started by M. Verbytskyy. The characteristic feature in music for play-acting was using elements of folk song melodies, ritual songs and dances, in particular, hayivky, kolomyiky, preservation of Galician language dialect. The character of music language was formed on folk and ethnographic material, Ukrainian natural rhythm melody, that was different from western European metrorhytmica. The composer chose libretto as important means of image creation, based on the old Rus rhythm of the poem with takt division of melody, division into periods according to text parts, folk – Rus harmony and instrumentation. Maksym Kopko wrote music to many dramatic performances; «Don’t joke with the Heart», «Vyvoroshyla», «Ontwitted», «Joseph in Egypt», «Bethlehem Night», and other. Music for most of these plays unfortunately was not saved. So, the play «Bethlehem Night is an illustrative sample. Poetic text and music of «Bethlehem Niqht» were edited in Przemysl in 1900. Text (libretto) was written by father Jyeronim Jakovych Lucyk (Roman Surmach). In the basis of the play «Bethlehem Night» is biblical story of the birth of Jesus Christ in Bethlehem. Music of the play includes solo songs, ensembles and choires. The play consists of four acts, named by the author of libretto: 1 – «Oshydaniye», 2 – «Wave of Affection», 3 – «Human wickedness», 4 – «Spoznanye pravdy and nativity». Music parts correspond to the text of the play, entered into significant dramatic elements, shading a particular situation or characters moods. The play is intertwined in a few dramatic lines. First – folk – ritual which is represented in the choires of 1 and 2 acts. Second line is heroic praised that sounds in culminating finals of 2 and 3 acts. The third – spiritual – religious line which is represented in vocal performances 1 and 4 acts – prayer of minstrel (guslyar), angels choires, three kings choire. All music parts represent typical for household genre feedback of professional and folk art. Based on established traditions of music arrangement of theatrical plays in second half of XIX century, Maksym Kopko developed his own style in music composing for theatre performances – it’s a soft melody with folk intonations. Theatre music had a significant meaning for development of Ukrainian culture. The tendencies of European romanticism as an important step to national imagery and folk music language, and path to establishment of Ukrainian national composer’s school, was clearly embodied in his music. The contribution of Maksym Kopko to musical and theatrical art has its historical part in evolutionary process of establishment of foundations of national opera genre in Galicia is second half of XIX – beginning of XX century.