Стильові засади композиторської творчості Миколи Колесси (на прикладі сонатини для фортепіано)

Abstract

У статті розглянуто особливості музичної стилістики, які Микола Колесса використав у Сонатині для фортепіано. Звернуто увагу на те, як майстерно композитор поєднав у творі елементи імпресіонізму-символізму з фольклорними традиціями регіонального романтизму без застосування при цьому мелодійних цитат. Акцентовано увагу на виразному синтезі досягнень народного та професійного мистецтва, адаптованого у фортепіанному творі, та вміння подати модерн і традиційний спосіб музикування найлаконічнішими способами самовираження.

В статье рассмотрены особенности музыкальной стилистики, использованной Николаем Колессой в Сонатине для фортепиано. Обращено внимание на мастерское сочетание композитором в произведении элементов импрессионизма-символизма с фольклорными традициями регионального романтизма без применения при этом мелодических цитат. Акцентировано внимание на выразительном сочетании достижений народного и профессионального искусства, адаптированного в фортепианном произведении и умение подать модерн и традиционный способ музыцирования лаконично способами самовыражения.

The article explores the stylistic principles of composition activity of Mykola Kolessa (for example Sonatina for piano), in which the composer skillfully combines techniques of musical impressionism-symbolism with the folkloric authenticity of the themes, without using quotes. The realization of the nationalistic idea in the works of Mykola Kolessa was objectively based on the traditionalistic understanding of his style, although according to the testimonies of his contemporaries and the composer’s self-characteristic, there was a reference to Ravel, impressionism. The considered Sonatina for piano is a vivid example of the combination of folk and professional art achievements, because it combines not only the features of the modernist style, which is a reaction of the author to the “call of time”, “the spirit of time”, but also of Ukrainian folklore. The name of the work, as well as the genre type of the analyzed composition of the author of Sonatina for piano, leads to an analogy with the corresponding typological decision of M. Ravel (“Sonatina” fis-moll). The direction of Kolessa’s thinking focuses on folklore, which aligns with the folkloric outputs of the above-noted French master. Interaction with folk elements takes place at all levels of the musical work: figurative-emotional, semantic, linguostylistic, constructive. During analyzing Sonatina for piano the correlation with Rococo sonatas-suites is highlighted, in which the variability of thematization, combined with different architectonic tendencies, provided support for the folkloric origins of their creativity. The combination of the national specific melos of Carpathian type with a sonata form was embodied in Sonatina for piano, it was not a characteristic feature of Ukrainian music, it embodied a completely new feature. Here for the first time was synthesized the leading stylistic tendencies of the twentieth century – Neoclassicism, Impressionism and Neo-Folklorism. The figures of the composition are frank and sincere in the embodiment of the synthesis of European clavier and pianoforte texture heritage. The specified modal structures: Hutsul, Dorian, Phrygian modes, twice harmonic minor, are indicative of Hutsul use of folklore – but we find similar in the European South. The indicated combination of certain European and specifically Hutsul folk elements concerns the Melismatic series of themes of Sonatina for piano, because its organic nature for the singing Hutsul region is not less than that melismatic “shade” of rococo. And this is logical, since the source for both the first and the second was the figurative character of the old-church singing, derived from Byzantine sources: for both Ukraine and France, this source was and remains relevant in stimulating national searches for the expressiveness of music. The pianoforte heritage of Mykola Kolessa, was created for almost sixty years – from the late 20’s to the 80’s of the twentieth century. His work was of great significance for the Ukrainian musical culture. Taking into account the fact that the composer sought to make music understandable, easy to perceive, his appeal to Modern received a noticeable inclination to the basis of European salon, in other words to the means of the rococo, creating an original not detached from folklorism neoclassical stylistic principle. Exactly these aspects of the combination of the traditionalist and modernist components of the style correspond to the settings of the postmodern age, according to contemporary musicology.