Фортепіанні твори Миколи Лисенка у контексті формування модерністичних тенденцій в українській музиці

Abstract

У статті вперше досліджено фортепіанні опуси Миколи Лисенка з позицій зародження в них модерністичних тенденцій. Розглянуто специфіку музичної поетики та формотворення творів таких жанрів, як сюїта, рапсодія, соната, програмна мініатюра. Охарактеризовано їх стилістичні риси в контексті течій музичного модернізму останніх десятиліть ХІХ – початку ХХ ст.

В статье впервые исследовано фортепианные произведения Николая Лысенко с позиций зарождения в них модернистических тенденций. Рассмотрено специфику музыкальной поэтики и формообразования призведений таких жанров, как сюита, рапсодия, соната, программная миниатюра. Охарактеризовано их стилистические черты в контексте течений музыкального модернизма последних десятилетий ХІХ – начала ХХ вв.

Mykola Lysenko’s piano works are an example of a mature romantic style in the Ukrainian music. Being the core of his work advanced features formation it embodies such individual style feature as multi-complexity, which indicates the modernist trends penetration. At that, as an integral original phenomenon it demonstrates change, overlapping, and synthesis of various stylistic trends typical of European music in the last third of the ХІХ – early XX centuries. Lysenko appeared in the Ukrainian music at the turn of 1860–1870 when Romanticism in Europe was drooping. A student of the famous K. Reinecke, who teached E. Grieg, M. de Falla and other representatives of national schools, he had a fine appreciation of the Romantic Age completion, not trying to “revive” its stylistic means but seeking for the new ways of strengthening the foundations of the Ukrainian national musical style on the European stage. One of the first works marked with the stylistic traits synthesis was “Ukrainian suite in the form of ancient dances based on folk songs” written during Leipzig period. Lysenko filled the traditional form of baroque suite in this work with a new content – tones of folk song and dance melodies with the “modernized” formal principles. He stylizes the cyclic form choosing as an initial model the “English Suites” and “Partite” by J. S. Bach. Lysenko created a new type of suite marked with the neoclassical aesthetics features. Development of a novel for Ukrainian music genre – suite, in 1910–1980 was followed by V. Barvinskyi, Ya. Stepovyi, V. Kosenko, M. Skoryk. New musical style sprouts most significantly appeared in major concert compositions – two Ukrainian Rhapsodies, Piano Sonata, Epic Scherzo, two Concert polonaises and Rondo. Lysenko combines in Piano Sonata the genres “signs” of Ukrainian musical tradition with the traditions of New Russian School and Western European Romanticism. Both Piano Rhapsodies he used for the first time the intonation and principles of Ukrainian epic tradition shaping, transferred on the piano the stylized kobzar techniques of play on Ukrainian epic instruments (kobza, bandura). In the fast parts of both Rhapsodies he brilliantly reinterpreted the principles of national professional instrumentalism (Troyista muzyka) in the spirit of modern folklorism. Many works of the artist have stylistic impact observed of Austro-German Romantics as well as German Biedermeier impact marked with romantic imagery scale transformation, restrained emotions. Of particular interest is a series of “Three short scores”, where romantic stylistics is re-analyzed in the light of baroque music and rhetorical figures and allusions to the tragic worldview of young S. Rahmaninov. Deep understanding by Lysenko of the national musical tradition semantic logic had penetrated into ways of form development; generated new attitude to the time category, especially in the later period of his work.