Міфологема землі в українській музиці у контексті весняної тематики: обрядовий і соціальний аспекти

Abstract

У статті досліджено трактування міфологеми Землі у контексті тематики весняного оновлення. Вирізнено два ракурси вказаного трактування: перший аналізується на матеріалі хорової опери “Ятранські ігри” І. Шамо, другий – кантати “Весна” М. Скорика на вірші з циклу “Веснянки” І. Франка. Міфологема Землі у контексті весняної тематики постає в її філософській еволюції від календарно-обрядового до соціального аспектів як Земля-мати та Земля-народ, що чекає своєї “весни”.

В статье исследовано трактовку мифологемы Земли в контексте тематики весеннего обновления. Выделено два ракурса указанной трактовки: первый анализируется на материале хоровой оперы “Ятранские игры” И. Шамо, второй – кантаты “Весна” М. Скорика на стихи из цикла “Веснянки” И. Франко. Мифологема Земли в контексте весенней тематики предстает в ее философской эволюции от календарно-обрядового к социальному аспектам как Земля-мать и Земля-народ, ждущий своей “весны”.

as: spring invocation, spring and New Year caroling, awakening from a winter sleep, sowing and fertilizing of the Earth. Mythologeme of the Earth is one of the main topics in the diversity of Vesnianky (spring) genre. It is usually described based on the oldest cosmogonical and autonomiceconomic grounds, and also partly on love and marriage. The interpretation of mythologeme of the Earth, in the context of spring renewal theme, was studied in this article. Two perspectives of this interpretation were pointed out. The first one is analysed based on the material of the choral opera “Games of Yatran’” by I. Shamo, that has became a generalized reflection of the folk song tradition in the light of new choral thinking and various difficult options of choral texture. The mythologeme of the Earth, in the context of spring theme, is shown by the anthem of joy, and is added by the theme of respect and protection of the fruitful Earth. “A fruitful mother” is a lexical item, which brings together the essence of the opera “Games of Yatran” with the cantata “Spring” by M. Skoryk based on the verses of I. Franko, where in the end one can hear such words: ”The Earth, my fruitful mother ...” taken from the cycle “Vesnianky” (poems about spring). However, in chorus opera, the lexical unit has cosmogonical and vegetative meaning, while in cantata it becomes socially marked. The second aspect is shown through the analysis of the cantata “Spring” by M. Skoryk based on the verses from the cycle “Vesnianky” by I. Franko. Mythologemes of the natural forces in the cantata, as well as in the poetic cycle, has become the thematic background for the development of the main idea – “springs of nation”. Spring symbols are transferred into the philosophical and social context. Spring is treated as a philosophical category denoting the new life of the insurgent nations – their “springs”, when “millions are waiting for a happy change”, when there is a “thunder” of million voices, when it is time for ploughmen to work, the time for people who sow the seeds of a new life, “the golden grain” of an aware nation. In the foreground there is a figure of a poet with his willingness of freedom and better life. Thus, the works, which clearly embody the meaning of the mythologeme of the Earth in the context of spring theme, were born in the works of I. Shamo and M. Skoryk in the 1960–1970 years. The Choral opera “Games of Yatran’” reveals the full meaning of the ceremonial calendar mythologeme, while cantata “Spring” shows its social and philosophical nature. The mythologeme of the Earth in the context of the spring theme appears in its philosophical evolution from ritual calendar to the social aspects, as Mother Earth and Earth-Nation that are waiting for the “spring”.