Жанрова палітра симфонічної музики композиторів української діаспори

Abstract

У статті розглянуто проблему музичної спадщини композиторів української діаспори ХХ століття в жанровому аспекті, зокрема у сфері симфонічної музики. Зроблено спробу провести дослідження жанрової типологізації цього виду творів та визначення пріоритетів розвитку симфонічної музики українського зарубіжжя.

В статье рассматривается проблема музыкального наследия композиторов украинской диаспоры ХХ века в жанровом аспекте, а именно в сфере симфонической музыки. Предпринимается попытка провести исследование жанровой типологизации сочинений данного вида и определить приоритеты развития симфонической музыки украинского зaрубежья.

The article deals with the issue of studying symphonic music of the diaspora composers. National symphonic music that has literally flourished in the 20th century in Ukraine had no less intensively developed beyond her boundaries as well. The huge mass of symphonic works created by the Ukrainian composers abroad represents a very interesting and practically unstudied sphere of the Ukrainian musical science. Actualization of the research, study, systematization and, finally, performing and publication of the symphonic works created by the Ukrainian composers beyond the borders of their homeland is one of burning problems of national culture. Throughout the whole 20th century composers of the Ukrainian diaspora created a considerable number of the samples of symphonic music, whose genre variety is quite impressive. These are the full-scale non-program and program symphonies of several parts (over 70 symphonies) out of which we shall name the most outstanding works of R. Prydatkevych, M. Roslavets, P. Senetsya, A. Rudnytsky, Yu. Fomenko, Yu. Fiyala, S. TurkevychLukyanovych, M. Kuzan, V. Kikta, V. Baley. Of great interest are the program symphonies of composers of the Ukrainian diaspora that would produce and accumulate in their program titles the principal character-ideological spheres of symphonism: 4 program symphonies of R. Prydatkevych,: No.1 «Ukraine. Liberation», No. 2 «Poplar» based on T. Shevchenko poem, No. 3 «West Kentucky», No.4 «Of Hetman Mazepa»; «Ukrainian symphony» of A. Rudnytsky, Symphony No. 2 on the temes of I. Franko, A. Olhovsky works, Symphony No. 4 on the temes of T. Shevchenko works by V. Shut, «Adams Apple» of V. Baley, etc. No less impressive numbers of single-part symphonic overtures, poems, rhapsodies, suites, etc., including program ones, amongst which there stand out the works of F Yakymenko, M. Hayvoronsky, V. Vytvytsky, A. Hnatyshyn, V. Shut, V. Pecheniha-Uhlytsky, V. Hrudin, V. Lapshynskyy, I. Vovk, V. Ovcharenko, etc. There are represented also the concert genres practically for all instruments and a variety of instrumental-symphonic compositions. There are also observed the original new specific genre solutions of instrumental-symphonic works that combine the features of several genre types, the so-called «hybrid forms». For example, the symphonic concert («Ukrainian carols, shchedrivky, vesnyanky(new year, spring ritual song)» of V. Kikta, «Concerto Rustico» of V. Zubytsky), chamber symphony (Sinfonia concertante of the Z. Lavryshyn), symphony concert of I. Matsiyevsky or representing a modification of the primary genres of various etymology – symphonic frescos: «Frescos of Sofiya Kyivska» of V. Kikta, symphony-parable: «GULAG Archipelago», «Ringing church bells» of I. Panov, symphony-chronicle: «John the Baptist» of V. Kikta, symphony-ballad: «Ballad-Monolog» of V. Baley. The most interesting and original are the program conceptual compositions without a specified genre type that has already become a typical phenomenon for the 20th century music (for example, such conceptual solutions as the « Metamorphoses» or «The Book for the orchestra» of V. Lyutoslavsky). These are «Two movements for orchestra» of Z. Lavryshyn,»Ghost» of L. Kuzmenko, «Gates pf time» of H. Kulesha, «Meeting of the restricted and unrestricted» and «In between» of R. Revakovych,»Quantity 4.85» of M. Kuzan, new edition of the monumental composition «Homeomorphies IV» of L. Hrabovsky. There are also the symphonic canvases with the use of a choir or voice: «The come back roads» for tenor and symphonic orchestra of M. Kuzan, «Elegy of sorrows» for the reader, violin, piano and chamber orchestra of O. Levkovych, Symphony with choir «Miserere Domine» of A. Olkovsky. The genre varieties and the evolution of symphonic music of the diaspora composers are comparable with general tendencies of the ways of development of symphonic music throughout the 20th century. Interpretations of symphony genre and other varieties of symphonic music are connected not only with the style features of this or that composer, but they also deal with certain regional peculiarities and will acquire characteristic individual forms reflecting at that both, the national nature of thinking and absorbing characteristic traits of culture of this or that geopolitical area that they belong to.