Шляхи розвитку тембрального звукообразу кларнета у творчості українських композиторів впродовж ХХ століття

Abstract

У статті досліджено становлення вітчизняного репертуару для кларнета як сольного концертного інструмента впродовж ХХ ст. Розглянуто історичну проекцію виникнення сольних, у тому числі камерних та концертних жанрів української кларнетової музики. Охарактеризовано провідні кларнетові композиції на різних етапах розвитку, окреслено специфіку трактування тембрально-сонорних якостей інструмента у творчості українських композиторів.

В статье исследуется становление отечественного репертуара для кларнета как сольного концертного инструмента на протяжении ХХ века. Рассматривается историческая проэкция возникновения сольных, в том числе ансамблевых и концертных жанров украинской кларнетовой музыки. Охарактеризовано ведущие композиции для кларнета на разных этапах развития, опеределено специфику трактовки тембрально-сонорных касчеств инструмента в творчестве украинских композиторов.

The article studies establishment of the national repertoire of clarinet as a solo concert instrument throughout the ХХ century. It examines historical projection of the advent of solo, including chamber and concert genres of the with the issue Ukrainian clarinet music that has acquired in the national music culture a certain dynamics that makes it possible to carry out a division of the process of its establishment into periods. Thus, the first period – the stage of mastering solo genres on the level multi-character pieces of different genre etymology – continued in the first half of the ХХ century. An important contribution to the sphere of development of the Ukrainian clarinet music was made by such composers as F. Yakymenko, L. Revutsky, Yu. Shchurovsky, M. Dremlyuha, V. Kyreyko, A. Shtoharenko, D. Klebanov, whose works for a long time represented the foundation of the Ukrainian clarinet repertoire. Development of the Ukrainian clarinet music intensifies considerably in the second half of the ХХ century. New brilliant concert compositions appear, including those with the symphony orchestra. V. Homolyaka became the author of the first «Rhapsody» for the clarinet and symphonic orchestra (1949). He is also author of the first Ukrainian Concert for the clarinet and symphonic orchestra (1979) that in fact marks establishment of the traditional genre system of the Ukrainian clarinet music. Analysis of the work has demonstrated mastering by the Ukrainian composer of the expressive system of the instrument creating a brilliant, impregnated with images canvas. Creation of the repertoire for the improvement of techniqueperforming basis (etudes, exercises by V. Skorulsky, S. Ryhin, A. Hurfinkel, Z. Burkatsky) and mastering timbre-sonant opportunities with perfect mastery of the technique arsenal of clarinet in the creative work of composers-clarinetists V. Nosov and L. Kolodub falls on the same period. The latter being a professional performer-clarinetist, demonstrates in his work a wide genre palette for this instrument: 3 concerts, «The Poem», «Slavonic Capriccio» for clarinet and orchestra, «Ukrainian origami» for clarinet solo, «A sketch in Moldavian style», «Legend», «Dance», «Trio musicians», «Gavotte» for clarinet and piano. Creative work of composers of the 60’s, that presents a wide range of various forms and genres, can be regarded as the third stage of development of the Ukrainian clarinet music. Although the works of V. Silvestrov («Mysterioso» for clarinet solo), L. Hrabovsky («Voice II, mournful» in memory D. Shostakovych for bass-clarinet solo), V. Hubarenko («Aria») for clarinet and chamber orchestra), I. Karabyts («Disco-round dance») for clarinet and piano) each present only one solo work, the essence of the aesthetic vision of the clarinet timbre acquires an innovative individual meaning. V. Bibik gave a lot more attention to the clarinet («Concertsymphony») for clarinet and orchestra, Sonata for clarinet and piano, «Music of the night city» for clarinet solo). Ye. Stankоvіch – the author of the «Monologue» and Sonata for clarinet solo, the only in the world practice Concert for clarinet solo «Play on the edge of abyss», chamber symphony No. 5 for clarinet string instruments cam be confidently recognized as the most fecund and progressive in exploitation of the clarinet sound. The clarinet sound attract also those Ukrainian composers, who worked in the 80–90’s of the ХХ century yielding new and interesting fruits in the sphere of clarinet music in their homeland like B. Frolyak – the author of Clarinet concert, composition «Molfar»; O. Shchetynsky – Concert for clarinet and chamber orchestra, several program opuses for clarinet solo («Two… in parallel… separately?»); V. Runchak – three «Anti-sonatas» for clarinet and piano; T. Yashchenko – jazz cycle for clarinet and piano «Nostalgia». Characterization of the main clarinet compositions at various stages of development permits to outline specific nature of interpreting timbre-sonorant properties of the instrument in the creative work of the Ukrainian composers. Thus, it is possible conclude that the Ukrainian clarinet music in the second half of the ХХ century acquires ever more and more varying composers incarnations forming a specific timbre sound image of the clarinet sound opening at that new perspectives of this instrument in the future.