Традиційність і новаторство в творчості Юлія Мейтуса крізь призму застосування українських фольклорних джерел

Abstract

У статті розглянуто панораму творчості українського композитора Ю. Мейтуса, для якого основою композиційного методу є синтез архаїчних пластів національного фольклору з модерновими засобами виразності. Частково оглянуто творчість митця, описано засоби співвідношення традиційних і новаторських композиційно-структурних, ладо-гармонічних та інтонаційно-лексичних засобів крізь призму застосування українських фольклорних джерел.

В статье рассмотрено панораму творчества украинского композитора Ю. Мейтуса, для которого основой композиционного метода является синтез архаичных пластов национального фольклора с модерновыми средствами выразительности. Осуществлен частичный обзор творчества композитора, определены средства соотношения традиционных и новаторских композиционно-структурных, ладо-гармонических а также интонационно-лексических средств сквозь призму применения украинских фольклорных источников.

The publication studies the works of Ukrainian composer Yuliy Meitus who started his musical career in the 1920’s. At that time, there were already many works exemplifying a wide range of intonational imagery and interpretation of traditional academic genres and styles (including folklore miniatures and religious harmonizations as well as large-scale symphonies, cantatas, oratorios, and theatrical performances). The composer succeeded to develop his unique style that combines folk music elements and Modernist composing experiments and interpretations. Meitus continued developing the traditions of the founders of Neofolklorism style, particularly Igor Stravinsky and Bela Bartok. The study argues that even though Meitus did use refrains and variational method in some of his works, he is an outstanding representative of artistic movement that practiced free interpretation of folk songs. In his works he strives to express a folk song content using an original combination: the composer allows for gradual development of the plot, counterposes stanzas, constructs independent characters featured in the song, etc. Meitus attached a high importance to the expressive capacities of piano accompaniment. In terms of use of folk song elements in opera dramas, it should be noted that the intonational characteristics of images, peculiarities of musical expression and style are determined by rhythmic and intonational basis of the work. Folk-song material in the operas “The Stolen Happiness” and “Wind’s Daughter” by Meitus is applied, first and foremost, in order to describe the setting and time of action. Depending on his artistic task, the composer dramatizes folk song material. The vocal language reveals intonational and thematic mastery of the composer. Through dramatization of strophic song forms he introduces short expressive orchestral interludes, while second couplet becomes more dynamic. This contributes to creation of truly national character that is, at the same time, inseparable from the plot and drama. In féerie “Wind’s Daughter” by Victor Zubar, folk-poetic atmosphere permeates the play through the wide use of kolomyika. Meitus developed a deep understanding of the principles of folk-poetic style; variability and two-dimensional nature of folk song allows to interpret it in different ways in the opera’s drama. Therefore, kolomyika becomes an original “generalization through the genre.” The opera “The Stolen Happiness” offers reinterpretation of dramatic features of folk songs. The key motive of the opera structure is a sonic complex of “stolen happiness” that has no direct analogies in folk music tradition. At the same time, it gives an essence of the typical features of national character, the place and time of action. Meitus was constantly looking for ways to internalize folk song material. He perceived a folk song as a epitome of dramatic development; that is what explains an amplified symphonism of his opera thinking. Scientific analysis confirms that the most effective approach to reinterpretation of folklore tendencies in musical composition is when individual and lexical styles of the artists are combined with the legacy of the previous generations; such synthesis eventually determines the essence of national musical and cultural continuity.