Похідні жанри у камерно-інструментальній творчості Генрика Мельцера-Щавінського

Abstract

У статті досліджено місце похідних жанрів у композиторському доробку Г. Мельцера-Щавінського. Розглянуто специфіку композиторського мислення на прикладі парафразу “Думка” для скрипки та фортепіано на пісню С. Монюшка. Охарактеризовано художньо-естетичні принципи епохи романтизму у ставленні композиторів до написання творів на “чужі” теми.

В статье исследовано место производных жанров в композиторском наследии Г. Мельцера-Щавинского. Рассмотрено специфику композиторского мышления на примере парафраза “Думка” для скрипки и фортепиано на песню С. Монюшко. Охарактеризовано художественно-эстетические принципы эпохи романтизма в отношении композиторов к написанию произведений на “чужие” темы.

Polish composer Henryk Melcer-Shchavinskyi (1869–1928) is a prominent person in the musical history of Lviv. He was actively involved in the concert life of the city as a pianist, performing solo and ensemble programs. He was also one of the leading conductors of the orchestra for the first Philharmonic concert season. Moreover, Melсer was known as a professor of higher piano course in the Conservatory of Galician Music Society and private music schools in Lviv. Melсer’s composer heritage is unrenowned in modern Ukrainian Art Studies. His legacy is rarely performed in concert, and many of his works were lost. The purpose of the article is to draw attention of performers to the heritage of Melcer-Shchavinskyi, to reveal the significance of derivative genres in his creative work and expand repertoire of the modern virtuoso performer. Derivative genres occupy an important place and make up a quarter of Melcer’s heritage. There are such genres as transcriptions, paraphrases, variations, translations and processing of one folk carol among the derivative genres in his works. Mostly, Melcer refers to the music words of Stanislaw Moniushko. Melcer’s paraphrases and transcriptions of Moniushko’s songs reflect artistic and aesthetic principles inherent for the era of romanticism. They demonstrate correlations of original and newly created versions in the principle of artistic dialogue. In Melcer’s compositions the author managed to preserve the essence of the original source, diversified it rhythmically, harmonically, register and timbre. Melсer’s paraphrases of Moniushko’s songs have many virtuoso effects, so they can be widely presented on public concerts. The article particularly considers the specificity of composer’s thinking on the example of paraphrase “Dumka” a-moll for violin and piano.