Жанр обробки народної пісні у творчості Миколи Колесси

Abstract

У статті зроблено спробу вивчити жанр обробки народної пісні у творчості Миколи Колесси. Проаналізовано обробки лемківських народних пісень композитора, створених у 1933 р. Розглянуто їхню поетику й музичну стилістику. Відзначено зв’язок обробок з неофольклорними та неокласичними тенденціями музичного мистецтва перших десятиліть ХХ ст.

Статья посвящена изучению жанра обработки народной песни в творчестве Николая Колессы. Проанализированы обработки лемковских народных песен композитора, созданы в 1933 г. Рассмотрена их поэтика и музыкальная стилистика. Отмечена связь обработок с неофольклорными и неоклассическими тенденциями музыкального искусства начала ХХ в.

Аrticle is devoted to studying Kolessa genre of folk songs arrangement on the ground of Lemko’s folk songs, created in 1933. Specific poetiс and stylistic features are analyzed. Connection between Kolessa musical language and modern tendencies of ХХ century musical art (neo-classic and neo-folklore) is observed. Lemko’s folk songs оn autor’s arrangement are representing earlier composers style (1920–1930’s years), using polymode, polytonal means of rhythmic versatility and complex metric. Choosing the song culture stratum of Ukraine, which is little-known within the Ukrainian professional music, Kolessa came up with the free type of folk material processing, folklore new type application conditioned by ingenious poetics and musical style of such ethnic local stratum. Song samples selected by Kolessa are distinguished by specific aphoristic character of depicted events, psychological acuity, and original poetic vision of the surrounding world. Mostly, these are colourful miniature sketches that convey variable inner world. Poetics expressive bulge is achieved due to emphasizing the realistic playback of events and characters’ actions, typical plot collisions. Their analysis revealed a number of ethnic local features. The original way of thinking also reveals musical and stylistic aspect of Lemko’s folk songs, which are characterized by thinking modality revealed both at the modal formula and rhythmic specificity, and coherent composition as well. Lemko’s folk songs stratum was influenced by neighbouring folk songs cultures, especially the Hungarian and Polish. Melody development from tetrachord to octave modal structures, strengthening the chromatization phenomena provide it with a specific colour scheme. In rhythmic structure of Lemko’s folk songs the most important is the commonly used two-line fit (6 + 6), although three-line fit occurs very often (4 + 4 + 3), as well as four-line fit (4 + 4) + (5 + 3). New features of Kolessa’s early style show through the harmonious language of his adaptation. The composer uses three methods of fitting development through: 1) attracting folk mode specificity of folk sources (diatonic, hemiolics); 2) strengthening the chromatic principles during harmonization process; 3) expansion of the dissonance application scope. Application of sharply dissonant intervals (increasing seconds, tritones, etc.) is interpreted quite freely; it bears an important semantic load and is stable feature of the artist’s individual style at the early stage. «Lemko’s folk songs» arrangements show an innovative approach to the arrangements genre and dynamic perception of its essence. It is referred to the whole new for Ukrainian music of late 1900’s – early 1930s folklorism level professed by B. Bartok, I. Stravinski, K. Szymanowski, V. Barvinsky, L. Revutsky, B. Liatoshynsky. The M. Kolessa’s folklorism new type confirmed in his piano cycles and emerged later in solo arrangements of «Songs from Polissia» and in early 1970’s was repeated in Lemko’s songs arrangements for voice and piano.