Стилістика фортепіанних творів Михайла Вериківського (20–60-і роки ХХ століття)

Abstract

У статті проведено аналіз стилістичних ознак фортепіанних творів Михайла Вериківського у контексті композиторських пошуків середини XX століття. Окреслено визначальні особливості стилістики та семантики фортепіанних творів митця різних періодів творчості. Розглянуто цикл “Волинські акварелі” як один із прикладів композиторського мислення Михайла Вериківського.

В статье проведено анализ стилистических характеристик фортепианных произведений Михаила Верикивского в контексте композиторских поисков середины XX века. Обозначено определяющие особенности стилистики и семантики его фортепианных произведений разных периодов творчества. Рассмотрено цикл “Волынские акварели” как один из примеров композиторского мышления Михаила Верикивского.

Mykhailo Verykivsky (1896 – 1962) is one of the innovator composers in the Ukrainian piano music of the XX century. He is a musician, composer, teacher, conductor, musical critic, specialist in folklore, the honored performer of arts of Ukraine (1944). However, the tragic vital collisions connected with oppressions of free composer search at that time did not allow the artist to realize the creative plans in the direction of insrtrumental repertoire in full. The piano inheritance of the artist has always been in the centre of scientific interests (V. Klyn, O. Verykivska, A. Karmazyn etc.). However, the investigation of the comparative analysis of the composer’s piano works in different periods of his creative activity and the analysis of influences on his own composer style by his piano teachers remains actual. A. Safonova was among his first teachers. She was the pupil of V. Pukhalsky (1848 – 1933) who was one of the founders of the Kyiv piano school. Among his other famous pupils were V. Gorovits, G. Kogan, M. Tutkovsky, B. Yavorsky, K. Mykhaylov, L. Nikolayev etc. It can be assumed that V. Pukhalsky’s “school” had a certain mediate influence on the piano style of M. Verykivsky, his understanding of the expressive opportunities of the instrument through his teachers A. Safonova and B. Yavorsky, the latter of whom was his teacher at Kyiv conservatory. Among the first of M. Verykivsky’s piano attempts there were the preludes, “Elegy” (1912– 1914). The foundations of his composer thinking were laid under the influence of the theory of the tune rhythm by B. Yavorsky and modern stylistic search by contemporary at that time Ukrainian and foreign composers. During 1920-s – the 1930-s the composer created “Five preludes”, “Waltz”, “Etude” (1920), “Three preludes” (1920–1923), “Sonata allegro” (1922), “Dance”, “Militant march” (1923–1924), “Spring dances” (1930). M. Verykivsky returned to piano music in 1941–1945 during the evacuation to Ufa where he created his most famous piano cycle “Volyn Waterсolors”. During the post-war period the composer created new music works and edited his own works, among which there are 14 preludes for the piano (1960 edition, came out in 1969 under edition of O. Verykivska, the composer’s daughter, a pianist and teacher). The first part of his Piano concerto remains in the draft option. On the whole, the piano inheritance of the artist is not numerous. However, the composer’s works created in the mid-war period prove that M. Verykivsky can be considered a talented experimenting composer. With his input – the cycle “Volyn Waterсolors”, – the new “sound image” of the intonation piano came into being in the Ukrainian piano music. The piano music of the artist is characterized by diverse stylistic tendencies, the constructivist, folklore and ethnographic directions combined in one whole. Therefore the interpretation of piano works by M. Verykivsky provides the understanding not only of the features of composer thinking, but the comprehension of a wide cultural context of experiments and search of modern musical language, its tune and harmonious means in the context of pluralism of styles and stylistics in the European and Ukrainian music of 1920-s – the 1930-s and in the middle of last century in general.