Формування композиторського стилю І. Карабиця (на прикладі фортепіанного циклу «Прелюдія і токата»)

Abstract

На матеріалі одного з перших фортепіанних творів І. Карабиця виявлено характерні принципи композиторського письма, які формувалися на ранньому етапі творчого шляху композитора. Розглянуто специфіку композиторського мислення митця та виконавську долю циклу.

На материале одного из первых фортепианных произведений И. Карабица выявлены характерные принципы композиторского письма, которые формировались на раннем этапе творческого пути композитора. Рассмотрена специфика композиторского мышления и исполнительская судьба цикла.

The article deals with the peculiarities of early style of composer Ivan Karabyts based on «Prelude and Toccata» series, one of the composer’s first steps in the piano music. It describes the establishment of the composer’s style, the creative Ego leading to the liberation of the composer’s thinking. The examination of the early piano style of I. Karabyts has identified that the composer longs for the established traditions of classic-romantic music that had been also dominant for the founders of Ukrainian national musical language. Although the series is attributed to the early opuses of the heritage of I. Karabyts, but it already shows the origins of main stylistic milestones to be characteristic for other (mature) works the composer. The analysis of the intonation and texture peculiarities reveals tending to O. Skriabin’s music style distinguished by the affectation of rhythmic pattern, veiled melodies and confrontation of texture-register dialogues. The use of leit-intonations and leit-register features throughout the work is an important component of the dramatic integrity of I. Karabyts’ series, and intonation units in «Preludе» becomes a new theme, a theme of the second part of the series. «Prelude» has got the improvisation nature, the spontaneity and the ease of the author’s expression like in Baroque samples where the theme function is taken by the harmonic structures. «Toccata» sheds the energetic movement surrendering to the concentration of emotions: from the young heart’s romantic exaltation and fragile excitement to the feeling of sinister forces of external mechanistic brutality. The search for harmonic, melodic and rhythmic means that form own genre-and-style complex in this early opus makes a basis for the artist’s individual style, that is why this music cannot be identified as a piece of mature style of thinking. The early works of Karabyts, even if not started with a climax, definitely show the composer’s gift that has already got the philosophy of the young artist. According to the typology of N. Savytska, I. Karabyts can be attributed to those artists who have a phenomenal characteristic of «early maturity».