Поезія І. Франка «Червона калино, чого в лузі гнешся?» в хоровій версії М. Ластовецького: особливості прочитання

Abstract

У статті розкрито зміст поезії І. Франка «Червона калино, чого в лузі гнешся?» та особливості її музичного втілення в оригінальному творі М. Ластовецького для мішаного хору. Охарактеризовано засоби музичної виразності: гармонію, мелодику, ритм, динаміку, темп; музичну форму.

В статье раскрыто содержание поэзии И. Франко «Красная калина, чего в лугу гнешься?» и особенности ее музыкального воплощения в оригинальном произведении Н. Ластовецкого для смешанного хора. Охарактеризованы средства музыкальной выразительности: гармония, мелодика, ритм, динамика, темп; музыкальная форма.

The semantics of I. Franko’s poem «Chervona kalyno, chogo v luzi gneshsya?» is rendered by M. Lastovetskyi in a very subtle way by means of musical intonation – a specific way of «communication» and the expression of emotionally strong thought. It is caused by the poem’s poetic mode, reflected in the combination of words, rhythm and syntax. The composer implemented the whole range of a person’s feelings. In M. Lastovetskyi’s musical composition poetic and musical texts are treated as equal «partners» and perform the same functions. That adds a convincing integration to it. The composition is written in a two-part form, with the second part being expanded due to the repetition of the last sentence of the fourth stanza. The choir’s last eight bars serve as a code that represents a relation of the content and music with the initial period of the composition. M. Lastovetskyi uses melodic and natural a-moll, a smooth movement of choral voices, intervalika of parallel third and fifth inspired by the peculiarities of Ukrainian folk multi voices. The monolith of sounding is intensified by the integration of women’s melodic voices with contrasting men’s ones that having turned into ostinato serve as the basis for the intonational development of the whole. The whole complex of expressive means intensifies the anxiety corresponding to the imagery of poetic primary source. In culminating second sentence the composer uses a variety of dynamic shades, makes a poetic text in melodic correlation of choral parties rather distinct. A lofty and penetrating sopranosolo arises in the background of a flexible choral facture. The composer uses taciturn and registered shades of a voice skillfully. The composition differs in inner dynamism and distinct development of thought. The initial musical material as well as poetic («Chervona kalyno, chogo v luzi gneshsya?») is concentrated in the code. Poetry vocality, imagery and semantic direction, a close connection with Ukrainian songs predetermined a choice of convincing means of choral arrangement i.e., colorful intonation and timbre, metre and rhythmic and dynamic scale, refined harmony within «neo folklore». Musical language renders the depth of a musical stanza in a very subtle way.