TCHAIKOVSKY NATIONAL MUSIC ACADEMY OF UKRAINE R. GLIER KYIV INSTITUTE OF MUSIC

MUSICOLOGY OF KYIV Culturology and art studу

Collected articles Issue number 53

Kyiv 2016 UDC 78.01 LBC 85.31 Editorial board: Rozhok V. I., editor in chief, Doctor of Science in Arts, professor (Ukraine, Kiev); Zlotnik O. Y., professor, People’s Artist of Ukraine (Ukraine, Kiev); Humeniuk T. K., Doctor of Science in Philosophy, professor (Ukraine, Kiev); Zilberman Y. A., PhD in Arts, professor (Ukraine, Kiev); Antoniuk V. G., Doctor of Science in Culturology, professor (Ukraine, Kiev); Volkov S. M., Doctor of Science in Culturology, professor (Ukraine, Kiev); Zinkevych O. S., Doctor of Science in Arts, professor (Ukraine, Kiev); Kodyeva O. P., Doctor of Science in Culturology, professor (Ukraine, Kiev); Osadcha S V., Doctor of Science in Arts, associate professor (Ukraine, Odessa); Korniy L. P., Doctor of Science in Arts, professor (Ukraine, Kiev); Lashchenko S. K., Doctor of Science in Arts, associate professor (Russia, Moscow); Salnikova K. V., Doctor of Science in Culturology, professor (Russia, Moscow); Zhornova O. I., Doctor of Science in Pedagogics, professor (Ukraine, Kiev); Tyshko S. V., Doctor of Science in Arts, professor (Ukraine, Kiev); Severinova M. Y., Doctor of Science in Arts, associate professor (Ukraine, Kiev); Cherkashina- Hubarenko M. R., Doctor of Science in Arts, professor (Ukraine, Kiev); Kokhanik I. M., PhD in Arts, professor (Ukraine, Kiev); Mudretska L. H., PhD in Arts, associate professor (Ukraine, Kiev); Timchenko-Bykhun I. A., PhD in Arts, associate professor (Ukraine, Kiev). Reviewers: Cherkashina-Hubarenko M. R., Doctor of Arts, professor, Volkov S. M., Doctor of Culturology, professor, Zhornova О. І., Doctor of pedagogical science, professor. The next collection issue continues the series of publications, which is the result of the scientific research of young music experts of Ukraine. The articles of this publication cover a wide variety of actual problems of Ukrainian and foreign music culture, theory and history of music, music psychology and music sociology, music performance and pedagogics. The collection is addressed to the specialists in the sphere of music arts and culturology, a big number of musicians-practisers, teachers and students of the higher and secondary educational institutions of culture and arts. Recommended for publication by the Academic Council of the R.Glier Kyiv Institute of Music (protocol № 1 from 30.08.2016). The edition’s website: www.glierinstitute.org/ukr/digests According to the decree of the Presidium of the Higher Attestation Commission of Ukraine from 6 march 2015 under № 261 «Musicology of Kyiv» has been included into the list of academic journals of Ukraine in the field of culturology and art studies. The editorial board is not responsible for the informational content of the articles. The opinions expressed in the articles do not necessarily reflect the views of the editorial board. © R.Glier Kyiv Institute of Music, 2016 І. THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY

Yevgeniya Ignatenko

UKRAINIAN EARLY MUSIC AT THE FESTIVAL AND CONGRESS MUSICA ANTIQUA EUROPAE ORIENTALIS IN POLAND

The international early music Festival and Congress of the Central and Eastern Europe Musica Antiqua Europae Orientalis (MAEO) takes place in Bydgoszcz (Poland) every three years, starting in September 1966. In present 2016 this prominent European cultural event celebrates its 50th anniversary, which urges us to understanding it from a distance of time, historical studies and summarizing some results. The Ukrainian musicologists participated in all congresses in Bydgoszcz except year 1988. Only 10 people during 40 years presented Ukrainian early music at the scientific meetings in Poland. It’s not so much as for the neighboring country, which history and cultural development is closely linked with Poland. It is no exaggeration to say that at the beginning, when the idea of establishing of the early music Festival and Congress of the Central and Eastern Europe appeared, Ukraine occupied one of the priority seats in plans of this event’s initiators. The organizers: Director of the I. J. Paderewski Pomeranian Philharmonic Andrzej Schwalbe and Professor of the Warsaw Institute of Musicology Zofia Lissa has made significant efforts in order the Ukrainian and not only Russian musicians arrived to the first and the following musical events in Bydgoszcz. In September 1963 the rector of the Tchaikovsky Kiev State Conservatory A. Shtogarenko received three letters: two of A. Schwalbe and one of Z. Lissa with the invitation to participate at the first festival and congress MAEO. Ukraine’s participation was served as the resolved issue because the Ukrainian concerts and scientific papers were reserved in the program. Immediately after receiving the invitation the organizational group that engaged in the formation of the Soviet Union delegation was created in Moscow, but musicians from Ukraine were not invited. A separate delegation from Ukraine at that time could not be, and to achieve the participation in the Soviet delegation was the difficult task. This problem was solved by the organizers of the festival and congress and by the Kyiv Conservatory’s authority. In December 1963, the head of the history of music’s department of the Kyiv Conservatory Prof. O. Shreyer-Tkachenko wrote the letter to Prof. Yu. Keldysh from Moscow, in which she wanted to agree on the 3

participation of the Ukrainian musicians in the Soviet Union delegation and to make the suggestions about the Ukrainian scientific papers and concert. In the letter dated 02. 02. 1964 Yu. Keldysh agreed eventually with the participation of Ukraine, explaining that the reason of his passivity in solving the «Ukrainian question» was his own incompetence. In this letter the place and format of the Ukrainian early music presentation at the Polish Festival and Congress was specified: one scientific paper and Ukrainian music as part of the Russian performers’ concerts. This format announced by Yu. Keldysh, consciously or mechanically, remained unchangeable, with the rare exceptions, until the collapse of the Soviet Union. The Ukrainian early music was presented in Bydgoszcz in the shortened version and together with the Russian early music. The original ideas and the concept of the early music Festival and Congress of the Central and Eastern Europe were declared at the first letters sent to Ukraine by this event’s organizers. Professor of the Kiev State Conservatory and the Ukrainian musicologist who visited the first MAEO in 1966 O. Shreyer- Tkachenko became the true and sincere their assistant in Ukraine. By that time O. Shreyer-Tkachenko had been already studied actively the Ukrainian early music and had the significant achievements. She was the co-author of the «Essays on the history of Ukrainian music», prepared the articles for the «History of the Ukrainian prerevolutionary music», and picked up the pieces for the «Anthology of the Ukrainian prerevolutionary music». The O. Shreyer-Tkachenko’s own ideas were close to the thoughts of the MAEO’s organizers. The Polish musicians and scientists wanted to show that the Western musicologists unfairly diminished or even ignored the role of the Slavic peoples in the development of the European music. Shreyer-Tkachenko noted the similar attitude of Russian musicians to the history of the Ukrainian early music. The trip to the first festival and congress in Bydgoszcz inspired her to prepare and conduct in Ukraine the scientific conference devoted to the early music. Professor of the Ukrainian National Tchaikovsky Academy of music N. Gerasymova-Persydska visited all the festivals and congresses in Poland since 1969 so she is the participant of the 40-year history of MAEO. At the end of the article her reflections and thoughts about the MAEO’s ideas and their implementation, about its role for Ukraine and for the world are presented. The article presents the Ukrainian early music at the festivals and congresses MAEO. The process of the forming of the bonds between the Ukrainian musicians and the Pomeranian Philharmonic has been revealed. The concept of Polish music forum and its reception in Ukraine has been

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characterized. The role of the festival and congress in Bydgoszcz in the development of the Ukrainian school of early music has been outlined.

L I T E R A T U R E 1. Архімович Л., Каришева Т., Шеффер Т., Шреєр-Ткаченко О. Нариси з історії української музики / Л. Архімович, Т. Каришева, Т. Шеффер, О. Шреєр-Ткаченко. – в 2-х частинах. – К., 1964. 2. Історія української дожовтневої музики / Загальна редакція та упорядкування О. Шреєр-Ткаченко. – К., 1969. – 588 с. 3. Копиця М. Епістологія в лабіринтах музичної історії: Монографія / М. Копиця. – К.: Автограф, 2008. – с. 287–313. 4. Українське музикознавство. – К. : Музична Україна, 1971. – Вип. 6. – 264 с. 5. Хрестоматія української дожовтневої музики / Упорядкування О. Шреєр-Ткаченко. – К.: Музична Україна, 1970. – 464 с. 6. Bezwiński A. XV Musica Antiqua Europae Orientalis (Kilka uwag do historii) / A. Bezwiński // XV Musica Antiqua Europae Orientalis. Acta Slavica. – Bydgoszcz, 2009. – S. 9–19.

Ігнатенко Євгенія. Українська старовинна музика на польському фестивалі та конгресі Musica Antiqua Europae Orientalis. У статті представлено українську музику на фестивалях і конгресах МАЕО; розкрито особливості початкового етапу формування зв’язків українських музикантів і Поморської філармонії; охарактеризовано концепцію польського музичного форуму та її рецепцію на Україні; окреслено роль бидгоської імпрези у розвитку школи старовинної музики на Україні. Ключові слова: фестиваль і конгрес МАЕО, українська старовинна музика, Бидгощ. Игнатенко Евгения. Украинская старинная музыка на польском фестивале и конгрессе Musica Antiqua Europae Orientalis. В статье представлена украинская музыка на фестивалях и конгрессах МАЕО; раскрыты особенности начального этапа формирования связей украинских музыкантов и Поморской филармонии; охарактеризована концепция польского музыкального форума и ее рецепция на Украине; очерчена роль фестиваля и конгресса в Быдгоще в развитии украинской школы старинной музыки. Ключевые слова: фестиваль и конгресс МАЕО, украинская старинная музыка, Быдгощ. Ignatenko Yevgeniya. Ukrainian Early Music at the Festival and Congress Musica Antiqua Europae Orientalis in Poland. The article presented Ukrainian early music at the festivals and congresses MAEO. The 5

process of the forming of the bonds between the Ukrainian musicians and the Pomeranian Philharmonic has been revealed. The concept of Polish music forum and its reception in Ukraine has been characterized. The role of the festival and congress in Bydgoszcz in the development of the Ukrainian school of early music has been outlined. Key words: Festival and Congress MAEO, Ukrainian early music, Bydgoszcz.

Larysa Babushka FROM HOLIDAYS TO FESTIVATION: CULTURAL TRAUMA IN DISCOURSE?

Exploration is devoted to research of phenomenon of festivation, festivals and cultural and civilizational spaces of being. Analysis address the problem caused by the growing trend of understanding supposedly outdated celebratory culture that is rapidly lost or blurred on the background of newly acquired holidays of different origin. In the current context of globalization and the global economic crisis, which touched almost all fields of culture, sharpening of the contradictions between civilizations and mass culture, which contributes to the rise of ideological vacuum, philosophical-cultural understanding celebration becomes especially important. The latter essentially being recognized institutionalized phenomenon of culture is no coincidence as one of the most difficult, even unique system of socio-cultural activities. Logical exploration of nature phenomenon of holidays and festivation summed up the necessity of the question on differences related or different levels of anthropo-socio-cultural system as a historical and cultural context. Experience the holiday is typical for most people. The holiday serves as a cultural sustainability, which is affected in any person. However, it being particularly cultural sustainability is a way out of daily life especially by contrasting his daily work. It is usually during the holidays usual routine is interrupted, giving way to rest, holy to the attraction and entertainment. In the Ukrainian language the word «holiday» and «leisure» are closely related, indicating that on certain days pragmatic deliberate actions to create conditions of life must be abandoned. All the concerns related to everyday life, you can even say that the famous Heidegger’s Care as the main characteristic of being- in-world during the festival gives people a break. This of course does not mean that the holiday appears serene, but holidays cares are different than the daily hard work, because they colored elevated emotional state.

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Analysis etymological and semantic understanding of ingredients holidays in historical and philosophical, cultural context it reveals the following important points: firstly, holiday, structuring of human existence, its life-world, distinguishing existence, temporality, the dichotomy of festivity and everyday life; secondly, serves as the sacred unity of the society in which the subject identifies himself in the community by belonging to a particular primarily sacred values. In this regard, the formation of the theory is the holiday with the need to regard as civilized modes of factors, and cultural. The focus of contemporary culture is the tendency to erase the boundaries between intellect and emotion, reality and fiction, respectively, between the holiday and every day routine. Therefore, the fair draws attention to the phenomenon festivation cultural process, understood as a component of exaggeration holiday everyday routine, everyday life, which is active, and in some places, the main role is for Homo festivus – The man who celebrates. Homo festivus – primarily representing generated by consumer society in which the act of consumption served as a festive event. Meanwhile holiday is desakralized and everyday routine, by contrast, is reduced and rises to an aesthetic ideal. Modern social and cultural problems related to the fact that this one- dimensional world ceased to function in a given mode, which showed its limitations. Diversity and commonality of different worlds constantly detected. In today's globalized world and the intensification of contacts is meeting in a social space different worlds that are logically one-dimensional world, should not occur and this often leads to dramatic effect. The alarm would have been reduced, the overall situation would be more comfortable if somewhat startling variety of possibilities narrowed, in other words, if the events of the world have a somewhat predictable. The phenomenon holidays cannot be seen outside the context of globalization measurements that stimulate and form social and cultural reflection worldwide, reviving and renewing the idea of unity and interdependence of humanity. Thus, the scientific reflection is dichotomous combination of global and local, time and space, versatility and particularity, holidays and festivation, which focuses on their interaction, interdependence and interpenetration. The paradigm of modern society, which is globalizing, in the context of postmodern transformations affect metaphysics festive attitude, transforming traditional sacred meaning of the holiday. Domination civilizational motives expressed in the globalization process, which continually reinforced, affects the cultural life of the subject, which celebrates and deforms sacred celebration in the traditional sense.

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French philosopher F. Murray, describing modern man, mark it as «Homo festivus», fixing her stay in the eternal holy calling modern civilization «hiperfestive era», and stresses that any of the holidays, which take gigantic proportions was employed. This active festivation has only a remote resemblance to the celebrations of the past, or the «civilization of leisure» recent past. In celebration hyperfestival world no longer opposed the everyday life, not contrary to it; Now it appears very routine, and nothing but routine. Festivation appears as hybridization, which forms move away from current practices and holidays recombinates with new forms, creating new practices.

L I T E R A T U R E 1. Берк П. Популярна культура в ранньомодерній Європі / П. Берк / [Пер. з англ.]. – К.: УЦКД, 2001. – 376 с. 2. Глобальні модерності: за ред. М. Фезерстоуна, С. Леша, Р. Роберстсона; пер. з англ. Т. Цимбала. – К.: Ніка-Центр, 2013. – Вип. 12 (Серія «Зміна парадигми»). – 400 с. 3. Гоголь Н. В. Выбранные места из переписки с друзьями / Н. В. Гоголь; составление, комментарии, вступительная статья Воропаева В. А. – М.: Советская Россия, 1990. – 432 с. 4. Давыдова В. В. Онтология праздника / В. В. Давыдова // Культурное многообразие: от пришлого к будущему: Второй Российский культурологийческий конгресс с международным участием, 25–29 ноября 2008 г.: тезисы докладові сообщений. – Санкт-Петербург: ЭЙДОС, АСТЕРИОН, 2008. – С. 155–156. 5. Золотухина-Аболина Е. В. Повседневность: философские загадки / Е. В. Золотухина-Аболина. – К.: Ника-Центр, 2006. – 256 с. 6. Михайловский А. Грустно теперешнее зрелище праздника / А. Михайловский. – Отечественные записки. – 2003. – Вып. № 1(10). 7. Мюрэ Ф. После Истории. Фрагменты книги [Текст] / Ф. Мюрэ. – Иностранная литература, 2001. – № 4. – С. 224–241. 8. Флоренський П. А. Предисловие к книге Н. Я. Симонович-Ефимовой «Записки петрушечника»: Сочинения в 4 т. / П. А. Флоренский / Сост. и общ. ред. игумена Андроника (А. С. Трубачева), П. В. Флоренского, М. С. Трубачева. – М.: Мысль, 1996. – Т. 2. – С. 532–536.

Бабушка Лариса. Від свята до фестивації: культурна травма в дискурсі? Розвідка присвячена дослідженню феноменів свята та фестивації в культурно-цивілізаційних просторах буття. Аналіз розгляду проблеми зумовлений зростаючою тенденцією щодо розуміння нібито застарілої святкової культури, що стрімко втрачається, чи то розмивається на тлі новопридбаних свят різного походження. Домінування цивілізаційних мотивів, виражених у глобалізаційних процесах, котрі

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невпинно підсилюються, накладає відбиток на культурне буття суб’єкта, деформуює сакрос святкування в його традиційному відчутті. Ключові слова: свято, фестивація, культура, цивілізація, глобалізація, людина, котра святкує (Хомо фестівус). Бабушка Лариса. От праздника к фестивации: культурная травма дискурса? Статья посвящена исследованию феноменов праздника и фестивации в культурно-цивилизационных пространствах бытия. Анализ рассмотрения проблемы обусловлен возрастающей тенденцией к пониманию якобы устаревшей праздничной культуры, которая стремительно теряется, либо размывается на фоне новоприобретенных праздников разного происхождения. Доминирование цивилизационных мотивов, выраженных в глобализационных процессах, которые постоянно усиливаются, накладывает отпечаток на культурное бытие субъекта, деформируя сакрос празднования в его традиционном ощущении. Ключевые слова: праздник, фестивизация, культура, цивилизация, глобализация, празднующий человек (Хомо фестивус). Babushka Larysa. From holidays to festivation: cultural trauma in discourse? Exploration is devoted to research of phenomenon of festivation, festivals and cultural and civilizational spaces of being. Analysis address the problem caused by the growing trend of understanding supposedly outdated celebratory culture that is rapidly lost or blurred on the background of newly acquired holidays of different origin. Domination of civilizational motives expressed in the globalization process, which are continually reinforced, affects the cultural life of the subject, deforms sacred celebration in the traditional sense of celebration. Key words: holiday, festivation, culture, civilization, globalization, the man who celebrates (Homo festivus).

Lubov Lysenko CONCEPT ORDNUNG AS A DOMINANT IN THE IDENTITY OF GERMANS

The article describes the stereotypical linguacultural concept Ordnung, which heads the conceptual sphere of German mental field, and thus became a leitmotif and the measure of all things in the mental identity of typical Germans. In support of the dominant role of the concept Ordnung in the German culture were analyzed the historical, literary, musical and biographical examples.

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Key words: German culture, the stereotypical linguacultural concept Ordnung, concept Sicherheit, mental identity, German musical language.

L I T E R A T U R E 1. Вежбицкая А. Семантические универсалии и описание языков / Пер. с англ. А. Д. Шмелева, под ред. Т. В. Булыгиной. – Москва: Языки русской культуры, 1999. – С. 606. 2. Доброчеев О. В. Русский хаос – тот же немецкий порядок, но только для очень большой страны / О. В. Доброчеев // Философия хозяйства. – 2009. – № 6 (66). – С. 52–63. 3. Зусман В. Г. Немецкое // Межкультурная коммуникация: учебное пособие. – Нижний Новгород: Деком, 2001. – С. 184–197. 4. Медведева Т. С. Ключевые концепты немецкой лингвокультуры: монография / Т. С. Медведева, М. В. Опарин, Д. И. Медведева; под ред. Т. И. Зелениной. – Ижевск: Удмуртский университет, 2011. – 160 с. 5. Межкультурная коммуникация: учебное пособие. – Нижний Новгород: Деком, 2001. – 313 с. 6. Павловская А. Особенности национального характера, или зачем немцы моют улицы с мылом / Анна Павловская // Вокруг Света. – 2003 – № 10. [Электронный ресурс]. – Режим доступа : http://www.vo¬krug¬sve¬ta.ru/vs/ar¬tic¬le/587/ (Дата обращения 8.12.2015) название с экрана. 7. Приходько А. Н. Концепт ORDNUNG как мерная единица немецкого этнического менталитета (лингвокультурный аспект) // Vita in lingua: к юбилею профессора С. Г. Воркачева / отв. ред. В. И. Карасик. – Краснодар: Атриум, 2007. – С. 158–171. 8. Böll H. Mein trauriges Gesicht. Erzählungen / H. Böll. – Moskau: Raduga Verlag, 2001. – 276 S. 9. Nünning A. Der Deutscheansich: einem Phantom auf der Spur / Ansgar Nünning, Vera Nünning. – München: Deutscher Taschenbuch Verlag, 1994. – 255 s. 10. Nuss B. Das Faust Syndrom. Ein Versuch über die Mentalität der Deutschen / Bernard Nuss. – Bonn, Berlin: Bouvier Verlag, 1992. – 213 s. 11. Pross H. Was ist heute deutsch? Wertorientierungen in der Bundesrepublik / H. Pross. − Reinbek: Rowohlt Verlag, 1982. – 158 s. 12. Schmitter E. Leichte Verfehlungen / Elke Schmitter. – Berlin: Berlin Verlag, 2002. – 310 s. 13. Schwanitz D. Der Zirkel / D. Schwanitz. – München: Goldmann Verlag, 2000. – 446 s. 14. Thomas-San-Galli W. A. Ludwig van Beethoven / W. A. Thomas-San-Galli. – Berlin: Europäischer Literaturverlag, 2014. – 540 s.

Лисенко Любов. Концепт Ordnung як домінанта ідентичності німецькомовної етнолінгвоспільноти. Описано стереотипний лінгвокультурний концепт Ordnung, який очолив концептосферу культурного поля німецької етнолінгвоспільноти, і тим самим став лейтмотивом й мірилом всіх речей в ментальній ідентичності типових німців. На підтвердження домінуючої ролі концепту Ordnung в німецькій культурі наведено та проаналізовано історичні, літературні, музичні та біографічні приклади.

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Ключові слова: німецька культура, стереотипний лінгвокультурний концепт Ordnung, концепт Sicherheit, ментальна ідентичність, німецька музична мова. Лысенко Любовь. Концепт Ordnung как доминанта идентичности немецкоязычного этно-лингво сообщества. Описано стереотипный лингвокультурный концепт Ordnung, который возглавил концептосферу культурного поля немецкого этно-лингво сообщества, и таким образом стал лейтмотивом и мерилом всех вещей в ментальной идентичности типичных немцев. В подтверждение доминирующей роли концепта Ordnung в немецкой культуре приведены и проанализированы исторические, литературные, музыкальные и биографические примеры. Ключевые слова: немецкая культура, стереотипный лингвокультурный концепт Ordnung, концепт Sicherheit, ментальная идентичность, немецкий музыкальный язык.

Lesia Herasymenko THE RHYTHMIC-INTONATION ASPECT OF SHEVCHENKO'S POETRY AS A FACTOR OF A TEXT-MUSICAL FORM OF «THE PSALM OF DAVID» BY M. LYSENKO

M. V. Lysenko is a pioneer in a poetry cycle «The psalms of David» in music. Having chosen the 43rd Shevchenko's psalm rehash for his plan, he implemented it in the genre of a choral poem for male choir with piano accompaniment. The so-called Shevchenko's 14-syllabic kolomijka verse is a peculiar stabilizing constant of a five-part contrast-compound composition, as Lysenko reproduces in music almost unchanged (no substantial melismatic chants) poetic text. The purpose of the study – is examining the specifics of reproduction of Shevchenko's rhythm and musical poetry properties by Lysenko in «The psalm of David». The base for the study is O. S. Tsalay-Yakymenko's methodology based on versification technique of the analysis of a syllabic verse, developed by the researcher on the materials of exactly Shevchenko’s poems. The main objective of this methodology is the detection of a certain musical element in Shevchenko's stylistics. Shevchenko's verse is a taktovyk type in which there can be seen a certain kind of frequency of division into certain «portions» – bars. They consolidate from two to five syllables under one stress, i.e. a 14- syllabic verse can contain 4 taktovyks. Since the stresses within poetic taktovyks can be on different syllables, there appear different configurations of the so- 11

called «rhythmic-intonation attraction» between strong and stressed syllable- beat and weak and unstressed ones. One can distinguish the following types of rhythmic motives: descending, ascending, descending syncopated, ascending syncopated. Considering the «syllabic» reproduction of Shevchenko's verse by the composer, O. S. Tsalay-Yakimenko methodology can be largely applied to the text and musical analysis of Lysenko's «Psalm of David». On the basis of this technique there was performed a comparative analysis of the poetic text in the original and in a music work – as one of the two fundamental elements of synthetic, text-music, forms. First of all, it turned out that Shevchenko's rhythm-motives almost always coincide with rhythm-syllabic groups similarly reproduced in Lysenko's music. We can find here almost all their modifications: descending and ascending, and less used syncopated ones (descending and ascending). There also can be found some steady regularities of composing reading, including the preservation of feminine rhymes (at the end of each 14th syllable the stress is always on the penultimate syllable). A careful comparison of the both text patterns allows to conclude that the accentuation coincides in most cases, and some differences in emphases are caused by the dominance of purely musical factors. This similarity can be explained by the fact that the composer individually expresses and brightens up the steady structure of the verse. But although these interpretations may be numerous, a 14-syllabic structure is always a constant. An important question was also the one of proportionality of the used Shevchenko's 14-syllable verse. It should be noted that due to the presence of a common beat (quarters or eights) the proportions of a 14-syllable verse remain the same regardless of the speed, time signature and number of syllables per line. How is that possible? For a satisfactory answer to this question we consider it to be appropriate to introduce the concept of a text-musical unit for analysis of syllabic – according to the principle of text implementation – vocal works. Due to the clear proportionality of a music meter a text-musical unit is seen steadily, and although the duration of a text-musical unit within a work may vary depending on its size, in the audience' mind it remains stable. This steady text-musical constant includes both poetic composition (of the text) and the beat (of music), that is its complex nature is the guarantor of sustainability: if the meter changes, the total playing time of the 14-syllabic verse changes. Therefore, although in different cases a varying number of beats will fall on the 14-syllabic verse, it is always easily identified because of the proportionality of meter and the beat.

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Intonation aspect of poetry and music in Lysenko's composition also tend to coincide in most cases. However, since the composer expands text- musical unit, combining Shevchenko's rhythmic motifs into more or less extended musical phrases, some intonation differences are often found. Lysenko's sustainable intonation structuring principle becomes indicative: from certain rhythm-intonational groups, coinciding with the motif, to musical phrase that combines a strophe (14-syllabic verse). Thus, in Lysenko's «Psalm of David» one can observe composer's steady desire of the direct natural playing of rhythm and musical properties of Shevchenko's poetry. At that time almost «literal» implementation of rhythm-syllabic basics of the poetic text in music is typical, in contrast to the intonation sphere of Shevchenko's poetry: musical phrases seem to express a hidden poetry potential and therefore are much more sculptured and developed than rhythm-intonation motifs of poetic speech. The cause of the differences, primarily, is the fact that Lysenko's leading elements are purely musical factors such as melodic motion, rhythmics and accentuation. However, Shevchenko's poetical strophe (a 14-syllabic verse), as a unifying and regulative element of Lysenko's work, in general always remains the same, and becomes the guarantee of an accurate imitation of the poetic text.

L I T E R A T U R E 1. Літературознавчий словник-довідник / [за ред. Р. Т. Гром’яка, Ю. І. Коваліва, В. І. Теремка]. – 2-ге вид., виправ. і доп. – К.: ВЦ «Академія», 2007. – 751 с. 2. Людкевич С. П. Про основу і значення співності в поезії Шевченка / С. П. Людкевич // Дослідження та статті. – К.: «Музична Україна», 1976. – С. 107–126. 3. Цалай-Якименко, О. С. Музична композиція Давидового псалма 149 Шевченка: «Псалом новий Господеві» / О. С. Цалай-Якименко // ΚΑΛΟΦΩΝΙΑ. –2004. – №2. – С. 194–203. 4. Цалай-Якименко, О. С. Cучасні аспекти музикознавчого дослідження версифікаційної техніки силабічного вірша / О. С. Цалай-Якименко // Українська музика. Науковий часопис. – Львів: ЛНМА ім. М. В. Лисенка, 2014. – Число 1 (11). – С. 24–33.

Герасименко Леся. Ритмоінтонаційний аспект Шевченкової поезії як чинник тексто-музичної форми «Давидового псалма» М. Лисенка. Стаття присвячена «Давидовому псалму» М. Лисенка, який досі залишається поза зоною музикознавчих розвідок. У роботі розглядається відтворення композитором ритмо-музичних властивостей Шевченкової поезії, які стають чинниками тексто-музичної форми твору Лисенка. В основі дослідження лежить методика О. С. Цалай- 13

Якименко, яка ґрунтується на версифікаційній техніці аналізу Шевченкового силабічного 14-складника. Ключові слова: М. Лисенко, «Давидів псалом», тексто-музична форма, ритмо-інтонація, Шевченкова строфа, версифікаційна техніка, силабічне віршування, О. С. Цалай-Якименко. Герасименко Леся. Ритмико-интонационный аспект поэзии Шевченко как фактор тексто-музыкальной формы «Давидового псалма» М. Лысенко. Статья посвящена «Давидовому псалму» М. Лысенко, который до сих пор остается вне сферы музыковедческих интересов. В ней рассматривается естественное воспроизведение композитором ритмо-музыкальных свойств шевченковской поэзии, которые становятся факторами тексто-музыкальной формы сочинения. В основе исследования лежит методика А. С. Цалай-Якименко, которая базируется на версификационной технике анализа шевченковского стиха. Ключевые слова: Н. Лысенко, «Давидов псалом», тексто-музыкальная форма, ритмо-интонация, шевченковская строфа, версификационная техника, силлабическое стихосложение, А. С. Цалай-Якименко. Herasymenko Lesia. The rhythmic-intonation aspect of Shevchenko's poetry as a factor of a text-musical form of «The psalm of David» by M. Lysenko. The article is devoted to M. Lysenko's «The psalm of David» which still remains beyond the modern musicological explorations. The composer's reproduction of rhythm-musical properties of Shevchenko's poetry becomes the factors of text-musical form of Lysenko's work that is considered in this work. The study is grounded on O. S. Tsalay-Yakymenko's methodology, which is based on versification technique of the analysis of Shevchenko's 14-syllabic verse. Key words: M. Lysenko, «The Psalm of David», text-musical form, rhythm-intonation, Shevchenko’s strophe, versification technique, syllabic poetry, O. Tsalay-Yakimenko.

Yaroslava Snitko THE POLES OF STEADINESS AND CHANGEABLENESS IN BENJAMIN BRITTEN’S PHANTASY OP. 2 FOR OBOE, VIOLIN, VIOLA AND CELLO

The purpose of this article is to study Benjamin Britten’s Phantasy op. 2 for oboe, violin, viola and cello in order to find out principles of internal organization of musical whole. It is stressed the significance of this piece for 14

forming of artist’s individual style. Here is revealed the Britten’s motives of access to the genre and pointed out the role of creative collaboration between composer and performer in the process of Phantasy’s creation. Not all the researchers considered this piece as independent and really significant for development of Britten’s style. However in fact Phantasy op. 2 embodies a very deep imaginative conception and demonstrates difficult compositional solution. For this reason it can be considered the first mature chamber work of Britten, despite it was written during the training on the last course of Royal Music College. This Phantasy become one of the first pieces, which author considered to be worthy for the publication and which was performed abroad (in the BBC broadcast and in the ISCM Festival in Florence in 1934). Phantasy was created because of Britten’s contact with outstanding English oboist of that time – Leon Goossens. This person was of great importance as in the making of English music in XX century, as for the history of oboe performance in Europe. Goossens was very active in popularization of his instrument and motivated contemporary composers to write new pieces for it. Furthermore, he was the first oboist, who become famous as solo performer. For Britten this acquaintance with Goossens turn out to be very fruitful and aroused his interest to work with that instrument. In addition, in future it became one of the main lines of composer’s oeuvre in the sphere of chamber music. From this moment he always wrote pieces for solo instruments under the impression of playing of concrete performer. It provides the ground to group all Britten’s chamber music in proper instrumental cycles. So, the significance of Phantasy op. 2 lies also in the fact that it was the first in a number of the works written for oboe. The piece’s overview was influenced it’s writing for the phantasy competition of Walter Wilson Cobbett. This fact let us suppose, that Britten in his work was relied on the genre of Phantasy, which was common in English music of XVI–XVII centuries in works of William Byrd, Orlando Gibbons and Henry Purcell. Urge to keep established conditions of competition exactly led to realization of quite difficult one-movement composition. It was created as a result of transformation of classical arch form through combining of two opposite origins – the poles of steadiness and changeableness. Both of them determine the compositional nature of the piece. Their interplay is the main driving force of musical development, which leads to the variability in structures treatment and influences to the specificity of composer’s work with other elements of musical material.

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Basing on the two opposite poles as the main organizing principles was caused by imaginative content of Phantasy. Britten did not leave any directions about possible program of the piece. But majority of researchers of his oeuvre pointed out that imaginative content of this Phantasy displays composer’s inclination to pacifism, which was one of the most important artist’s stands in life from an early age. It undoubtedly was caused by the influence of Frank Bridge, who had lost during the First World War a lot of close friends, and it left a noticeable imprint on his worldview. Irresolvable conflict of war and peace became one of the most important themes of Britten's oeuvre and there are obvious hints about this subject in Phantasy op. 2. In this piece there is no explicit tragedy caused by the direct experience of war or observation of its consequences. In the meantime there is only some restlessness, a vague feeling and a kind of uncertain anxiety. So there is no concrete clearly defined conflict and that fact significantly complicates the author's concept. Therefore, the poles of steadiness and changeableness are certainly connected with the contrasting of the two main figurative spheres: a more active march and calm and tranquil lyrical. They are embodied through contrasting themes that coexist inside the work. At first glance the march appears as a concentration of changeableness for its energy and activity. Respectively, the lyrical imagery is related to the moments of steadiness in the piece. However, in the process of development within each sphere there can be simultaneously observed the action of both the poles. For example, the march theme is the only one which appearance will lead to dramatic shifts. But at the same time, it is stable in the nature of its display and remains unchanged in its figurative content. And the lyrical theme, despite its softness and tranquility in the beginning, experiences the most powerful transformation in the process of development. In addition, there is the third figurative and thematic sphere in this piece, which is associated with scherzo. Therefore, the poles of steadiness and changeability cannot be definitely consolidated with some of the themes. Phantasy op. 2 for oboe quartet is the first Britten’s significant chamber work. Its analysis consideration just supports the latter idea. The basis of Phantasy is original imaginative and compositional concept that is combined with complex structural shaping which relies on clearly defined principles. That we can repeatedly observe in more mature works of the composer. There are some differences in opinions on Phantasy op. 2 amongst the scientics, however it is an important step in Britten’s creative development and the first significant opus that confirms the rising creative maturity of the artist.

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L I T E R A T U R E 1. Biggam Vincent Mark. Benjamin Britten’s Four Chamber Works for Oboe: A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of musical arts (D. M. A.), University of Cincinnati, College-Conservatory of Music : Oboe. 2001. – 151 р. [Електронний ресурс]. – Режим доступу : https://etd.ohiolink.edu/ (Дата звернення 10.05.2016) назва з екрану. 2. British Chamber Music // Musical Times 52, April 1911. – Р. 242–243. 3. Kildea Paul. Benjamin Britten: A life in the Twentieth Century / Paul Kildea. – UK: Penguin, 2013.– 688 p. 4. Mitchel Donald. The Chamber Music / Donald Mitchel // The Britten Companion, ed. Christopher Palmer. – Cambridge: Cambridge University Press, 1984. – 372 p. 5. The Music Society // The Times, 25 November 1933, Arts and Entertainment section,– P. 10. 6. Whittall Arnold The Music of Britten and Tippett: Studies in Themes and Techniques. / Arnold Whittall. – Cambridge: Cambridge University Press, 1990. – 2 nded. – p. 21.

Снітко Ярослава. Полюси сталості та змінності у Фантазії ор. 2 для гобою, скрипки, альта та віолончелі Бенджаміна Бріттена. Розглянуто Фантазію ор. 2 для гобойного квартету у контексті виявлення принципів, на яких базується внутрішня організація музичного цілого. З’ясовано, що композиційна природа твору обумовлена поєднанням двох протилежних начал – полюсів сталості та змінності. Виявлено, що їхня взаємодія постає головною рушійною силою музичного розвитку, призводить до варіативності в тлумаченні структури твору та впливає на специфіку роботи композитора з іншими аспектами оформлення його музичної тканини. Ключові слова: камерно-інструментальна музика, фантазія, композиція, сталість, змінність, концентрична форма. Снитко Ярослава. Полюса устойчивости и изменчивости в Фантазии ор. 2 для гобоя, скрипки, альта и виолончели Бенджамина Бриттена. Рассмотрена Фантазия ор. 2 для гобойного квартета в контексте обнаружения принципов, на которых опирается внутренняя организация музыкального целого. Выяснено, что композиционная природа произведения обусловлена объединением двух противоположных начал – полюсов устойчивости и изменчивости. Обнаружено, что их взаимодействие является главной движущей силой музыкального развития, приводит к вариативности в трактовке структуры произведения и влияет на специфику работы композитора с другими аспектами оформления его музыкальной ткани.

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Ключевые слова: камерно-инструментальная музыка, фантазия, композиция, устойчивость, изменчивость, концентрическая форма. Snitko Yaroslava. The Poles of Steadiness and Changeableness in Benjamin Britten’s Phantasy op. 2 for Oboe, Violin, Viola and Cello. Phantasy op. 2 for oboe quartet is studied in order to detect the principles of internal organization of musical whole. It is clarified, that compositional nature of the piece is conditioned by unification of two opposite origins the poles of steadiness and changeableness. There is revealed, that their interplay is the main driving force of musical development which leads to the variability in structures treatment and influences to the specificity of composer’s work with another aspects of musical material. Key words: chamber music, phantasy, composition, steadiness, changeableness, arch form.

Tatyana Shevchenko PIANO SONATAS OF NIKOLAI MEDTNER: GENRE-COMPOSITIONAL CHARACTERISTICS AND PROBLEMS OF INTERPRETATION

Genre of piano sonatas plays an important role in the creative heritage of Russian composer, pianist and teacher turn of the XIX–XX centuries Nikolai Karlovich Medtner. He addressed throughout the career to this genre. Most of Medtner’s piano sonatas are one of his best works, which constitute a significant part of the creative heritage of the composer and is an important milestone in the development of Russian sonatas. Composer embodied in his piano sonatas of the entire spectrum of psychological depth of musical images, where the leading role is played by the expressive lyrical sphere in all its diversity. Piano sonatas of Medtner are a variety of scale compositions – from chamber one movement sonatas (opus 11 and 22) to the epic sonata number 2 of the 25th opus that fully reveals the composer's skill in possession of a large- scale structure and thematic depth of penetration. A huge role in the works of Russian composer playing software start, which is reflected in the software titles sonatas and their parts. Several sonatas have a program that expresses the world of sublime («Sonata-elegy», «Romantic Sonata», «Sonata-Fairy Tale», «Lightning Sonata», etc.), and the part in «Romantic Sonata» called «Romance», «Scherzo», «Reflection» and «Finale», the first part of the

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«Sonata-Idyll» entitled «Pastoral». Such attention to the program due to the desire of the author to the brightness and visibility of musical images. The main terms of the images in the sonatas is associated with lyrical, lyrical epic and lyric-dramatic spheres. Note also certain laws of its path, which is characterized by the alternation of dramatic and lyrical sonatas. We note a considerable variety of genre-compositional solutions of Medtner sonatas, reflecting the characteristic of his musical world of images: an epic type of drama in the most dramatic Sonata op. 25, lyric-dramatic type of imagery in «Sonata-memory» of the series «Forgotten Motives» (Op. 38); tragic world of images in the Sonata Op. 39 («Tragic Sonata») and others. Top sonata of the composer are characterized by a high degree of contrast of images, combining organic unity deep inner concentration and elevated- agitated romance. In most of its software Sonatas composer uses minor keys. Diverse genre slice of piano sonatas by the composer (ballad, elegy, tale), which, in turn, gives rise to the following conceptual model of chronotop: fairy, ballad-narrative, elegical-lyrical, lyrical and dramatic. In accordance with the above-dramaturgic genre features Medtner sonatas, there are various options for performing their reading by greatest musicians of the XX – beginning of XXI centuries. Being a remarkable pianist of his time, Nikolai Medtner feels the expressive possibilities of the piano, which impose on the artist works his high artistic and technical requirements. The style of composer’s music is different from most of his contemporaries by virtue of a harmonious combination in it meaningful Slavic figurative beginning with the classical Western tradition – perfect structural unity, mastery of the polyphonic writing, the sonata form. The problem of finding «intonation hook» in thematic of Medtner sonatas and his subsequent conscious deployment (through variation and motivic development principles of monothematicism) during the execution of the Sonata and stands in front of a pianist, performing piano music composer. Guiding thread in this matter is the author's works, he has left a very significant number of remarks in his sonatas. On the basis of a copyright indication, as well as performing interpretations of a wide range of remarks (phrasing, dynamic, tempo, metro- rhythmic, agogics and articulation shaped), we have compiled the «author and performing score of remarks» that helps supplement the description of the composer's style and reveal the features of performance approach to N. Medtner. The author of the article, on the basis of the author and performer of the score late piano sonatas of Nikolai Medtner («Romantic» and «Storm» Sonata, 19

Op. 53, 1929–1931; «Sonata-Idyll», Op. 56, 1935–1937) featured the author's piano style and his reading of performing outstanding pianists of our time. For example, revealed the leading role in these sonatas of lyrical imagery combining the semantics of romantic and impressionistic styles. This was evident in the use of performing remarks of the composer, in which the most important are the terms of the lyrical character (espressivo, a piu agatato, poco a poco tranquiello, dolcissimo, cantando, armonioso, appassionato), as well as the designation of mobility and variability chronotopic indicators (con moto, poco a poco animato, presto leggierissimo, poco a poco mobile, allargando). In the performance of pianists these properties are emphasized by means of air, gentle touch, «breathing» pedaling and almost weightless Scriabin exquisitely of lyrical images (in the version of the pianist V. Gvozdetsky) and also in ascetic restraint, a certain «graphic quality» of his performing style, revealing other facets of lyrics piano sonatas – chastity, self-control feelings, crystal clear (in the record of the British pianist, musicologist and music promoter of Medtner’s music – Hamish Milne). Venerable performers found a lot of new colors and new topics in well known piano sonatas, suggested by the composer in his peculiar manner of presentation of the piano. A combination of software and artistic problems of Medtner’s poetic music overcoming difficulties textures, polyphonic refinement of the piano writing, fine pedaling. It requires a lot of performing experience and creative skills of the text works.

L I T E R A T U R E

1. Васильев П. Фортепианные сонаты Метнера / П. Васильев. – М.: Музгиз, 1962. – 43 с. 2. Долинская Е. Н. Метнер / Е. Долинская. – М.: Музыка, 1966. – 192 с. 3. Зетель И. Н. К. Метнер – пианист. Творчество, исполнительство, педагогика / И. Зетель. – М.: Музыка, 1981. – 231 с. 4. Метнер Н. К. Воспоминания. Статьи. Материалы / Н. К. Метнер. – М.: Сов. композитор, 1981. – 351 с. 5. Метнер Н. Повседневная работа пианиста и композитора. Страницы из записных книжек / Н. К. Метнер. – М.: Музыка, 2013. – 64 с. 6. Мясковский Н. Н. Метнер. Впечатления от его творческого облика / Н. Мясковский // Н. Я. Мясковский. Статьи, письма, воспоминания. – М., 1960. – Т. 2. – С. 105–110. 7. Нейгауз Г. Размышления, воспоминания, дневники. Избранные статьи. Письма к родителям / Г. Г. Нейгауз. – М.: Сов. композитор, 1983. – 526 с. 8. Нейгауз Г. Современник Скрябина и Рахманинова / Г. Г. Нейгауз // Н. К. Метнер. Статьи, материалы, воспоминания / Сост.-ред. З. А. Апетян. – М.: Сов. композитор, 1981. – С. 31–35.

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9. Соболев А. Из дневника / А. А. Соболев // Н. К. Метнер. Воспоминания. Статьи. Материалы. – М.: Сов.композитор, 1981. – С. 179–187. 10. Сокол А. Исполнительские ремарки, образ мира и музыкальный стиль / А. В. Сокол. – Одесса: Моряк, 2007. – 276 с.

Шевченко Татьяна. Фортепианные сонаты Николая Метнера: жанрово-композиционные особенности и проблемы интерпретации. В статье рассмотрены жанрово-композиционные особенности фортепианных сонат русского композитора рубежа XIX–ХХ веков Н. Метнера и специфика исполнения поздних сонат композитора на примере интерпретации «Сонаты-идиллии» современными пианистами. На базе исполнительской партитуры ремарок автором статьи выявлены доминирующие свойства сонат для фортепиано Метнера, повлиявшие на исполнительский стиль пианистов. Ключевые слова: русская фортепианная музыка, тип образности и драматургия фортепианных сонат, исполнительская партитура ремарок, поздние сонаты для фортепиано Н. К. Метнера. Шевченко Тетяна. Фортепіанні сонати Миколи Метнера: жанрово-композиційні особливості і проблеми інтерпретації. У статті розглянуті жанрово-композиційні особливості фортепіанних сонат російського композитора рубежу XIX–ХХ століть М. Метнера і специфіка виконання пізніх сонат композитора на прикладі інтерпретації «Сонати- ідилії» сучасними піаністами. На базі виконавської партитури ремарок автором статті виявлено домінуючі властивості сонат для фортепіано Метнера, що вплинули на виконавський стиль піаністів. Ключові слова: російська фортепіанна музика, тип образності та драматургія фортепіанних сонат, виконавська партитура ремарок, пізні сонати для фортепіано М. К. Метнера. Shevchenko Tatyana. Piano Sonatas of Nikolai Medtner: genre- compositional characteristics and problems of interpretation. The article describes the genre and compositional features of the Russian piano composer turn of the XIX–XX centuries N. Medtner and specificity performance of the composer's later sonatas by the example of the interpretation of «Sonata-Idyll» by modern pianists. On the basis of performing scores remarks author revealed the dominant properties of Medtner's piano sonatas, which was influenced the performing style of pianists. Key words: Russian piano music, imagery, style and dramatic piano sonatas, performing score remarks, late sonatas for piano N. K. Medtner.

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Mariya Shurdak THE EVOLUTION OF COOPERATION FORMING COMPOSITION AND TECHNOLOGY (FOR EXAMPLE, CHAMBER-INSTRUMENTAL MUSIC OF GYORGY LIGETI)

The article attempts to identify how technology composition influence the shaping is an example of the evolution of chamber and instrumental works D. Ligeti. Depending on the choice of technology changing the scale of forms (for example, sonoryka characteristic is the shape miniatures are mostly those forms, which consist of several – two or three sections, aleatory – given the time freedom and the use of free forms of composition, pointillism – characterized by shorter forms who felt as inclusions in large-scale sections). In the chamber instrumental works of the early period of the composer's understanding of form is the «classic». In mature period – resonant, composer skillfully works primarily with the resonant technique of composition. The process of shaping in later works D. Ligeti affect the selected composer composition technique (pointillism, features resonant and traditional hromatyka, mikropolifoniya), means of musical expression, especially his work with rhythmic and dynamic aspects. In the chamber instrumental works of the early period of the composer's understanding forms a «classic». When music composer opinion coincides with the finished shape and forms a clear demarcation unit (motif as the smallest unit and as part of the topic, phrase, sentence, period). Techniques of the compositions in Ligeti – is a static vertical wavy horizontal and depth associated with a time factor that affects the form and syntax in general. Ligeti considers that the changes that took place in the form of structure, a kind of temporal evolution, which affected the function of the form. In modern music are still the principles of a two-part, three-part forms and rondo-forms and weighty importance contrast-part form. Many techniques tracks give the composer the choice and direction in the free form and this in turn strengthens the role of pauses and «silence». Composer attempt at any time to make a logical stop (pause or Grand pause) is a way to distinguish sections of the form. In the present composition is one of the most important techniques for shaping. In the early period of Ligeti notes of internal communication with style Bartok, the first manifestations of resonant technology in «Bagatelle» string quartet №1. D. Ligeti course pays great attention to the sound and timbre features selected instruments. In the mature period – resonant, composer skillfully works with resonant techniques of composition and make it better. 22

Cycle «Ten Pieces» – a vivid example in which the composer has demonstrated the impact of resonant layers pointillism role and vertical clusters. One of the most important, formative principles is unison cluster and cluster effect texture – resonant vertical linear texture, movable horizontal seams resonant layers. The process of formation of the later works of D. Ligeti affect the selected composer composition technique (pointillism, features resonant and traditional hromatyka, mikropolifoniya), means of musical expression, especially his work with rhythmic, dynamic and temporal aspects. In the later period resonant material is understood not as a technique of composition and textural as its perception. The evolution of technology and interaction shaping the composition presented the work of D. Ligeti as diverse and multifaceted, and one that still needs to be scrutinized. The choice of technology affects the form of the composition, these are analyzed chamber and instrumental works. But behind the external, auditory difficulty in D. Ligeti composer dominates the latent simple form. Identify it can only analytically. Therefore, expansion of forms, such as the «Trio» is through the continuous sound of music («static time»). In music resonant period – undulating movement undermines the interface, so determine where one ended and something else can be started by tracing the change in texture, not the musical material or themes. The evolution of technology and interaction shaping the composition presented the work of D. Ligeti as diverse, multifaceted, and unique, and confirmed that the choice of technology composition certainly influences the process of shaping.

L I T E R A T U R E 1. Бонфельд М. Анализ музыкальных произведений (структуры тональной музыки) / М. Бонфельд. – М.: Владос, 2003. – ч. 1. – 256 с. 2. Гармель О. Три пьесы для двух фортепиано Д. Лигети на фоне Ф. Шопена (некоторые особенности композиторской техники цикла) / О. Гармель // Київське музикознавство. – К.: КДВМУ ім. Р. Глієра, 2000. – Вип. 3. – С. 202–212. 3. Дугина Т. Гармонические аспекты современной композиторской техники (на примере симфонических произведений Е. Станковича) : дис… соиск. учен. степ.канд. искусствовед. : 17.00.02 / Т. Дугина. – К.: 1994. – 170 с. 4. Кетеван Болашвили. К проблеме организации пространственно-временного континуума у Лигети / Ю. Крейнина // Дьердь Лигети личность и творчество: сб. статей. – М.: Российский институт искусствознания, 1993. – С. 56–75. 5. Когоутек Ц. Техника композиции в музыке ХХ века / Ц. Когоутек. – М.: Музыка, 1984. – 301 с. 6. Крейнина Ю. 80-е годы: новое прочтение традиции / Ю. Крейнина. – М.: Российский институт искусствознания, 1993. – С. 91–112.

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7. Крейнина Ю. Д. Лигети Личность и творчество / Ю. Крейнина // Дьердь Лигети личность и творчество: сб. статей. – М.: Российский институт искусствознания, 1993. – С. 147–165. 8. Кюрегян Т. Форма в музыке ХVІІ–ХХ веков / Т. Кюрегян. – М.: Сфера, 1998. – 344 с. 9. Лигети Д. Форма в новой музыке / Д. Лигети // Дьердь Лигети. Личность и творчество. – М.: Российский институт искусствознания, 1993. – С. 190–207. 10. Мазель Л., Цуккерман В. Анализ музыкальных произведений / Л. Мазель, В. Цуккерман. – М.: Музыка, 1967. – 752 с. 11. Соколов А. Музыкальная композиция ХХ века: диалектика творчества / А. Соколов. – М.: Музыка, 1992. – 228 с. 12. Холопова В. Формы музыкальных произведений / В. Холопова. – С.-П.: Лань, 2001. – 496 с. 13. Ценова В. Теория современной композиции / В. Ценова. – М.: Музыка, 2005. – 624 с.

Шурдак Марія. Еволюція взаємодії формотворення і техніки композиції (на прикладі камерно-інструментальної творчості Д. Лігеті). У статті зроблено спробу виявити, як техніки композиції впливають на формотворення саме на прикладі еволюції камерно- інструментальної творчості Д. Лігеті. В залежності від вибору техніки змінюються масштаби форми (наприклад, для сонорики притаманними є форми мініатюри, це переважно ті форми, які складаються з декількох – двох або трьох розділів; алеаторика – дала часову свободу і використання вільних форм композиції; пуантилізм – характеризується більш короткими формами, які відчуваються як вкраплення у масштабніших розділах). У камерно-інструментальних творах раннього періоду композитора розуміння форми є «класичним». В зрілий період – сонорний, композитор майстерно працює насамперед з сонорною технікою композиції. На процес формотворення у пізніх творах Д. Лігеті впливають вибрані композитором техніки композиції (пуантилізм, ознаки сонорної та традиційної хроматики, мікрополіфонія), засоби музичної виразності, особливо його робота з ритмічними та динамічними аспектами. Ключові слова: техніки композиції, формотворення, сонорність, пуантилізм, Д. Лігеті. Шурдак Мария. Эволюция взаимодействия формообразования и техники композиции (на примере камерно-инструментального творчества Д. Лигети). В статье сделана попытка выявить, как техники композиции влияют на формообразование на примере эволюции камерно- инструментального творчества Д. Лигети. В зависимости от выбора техники меняются масштабы формы (например, для сонорики присущими есть формы миниатюры, это формы, которые состоят из нескольких разделов – двух или трех; алеаторика – дала временную свободу и использование 24

свободных форм композиции; пуантилизм – характеризуется более короткими формами, которые ощущаются как вкрапления в масштабных разделах). В камерно-инструментальных произведениях раннего периода композитора понимание формы является «классическим». В зрелый период – сонорный, композитор мастерски работает, прежде всего, с сонорной техникой композиции. На процесс формообразования в поздних произведениях Д. Лигети влияют выбранные композитором техники композиции (пуантилизм, признаки сонорной и традиционной хроматики, микрополифония), средства музыкальной выразительности, особенно его работа с ритмическими и динамическими качествами. Ключевые слова: техника композиции, формообразование, сонорность, пуантилизм, Д. Лигети. Shurdak Mariya. The evolution of cooperation forming composition and technology (for example, chamber-instrumental music of Gyorgy Ligeti). The article attempts to identify how technology composition influence the shaping is an example of the evolution of chamber and instrumental works D. Ligeti. Depending on the choice of technology changing the scale of forms (for example, sonoryka characteristic is the shape miniatures are mostly those forms, which consist of several – two or three sections, aleatory – given the time freedom and the use of free forms of composition, pointillism – characterized by shorter forms who felt as inclusions in large-scale sections). In the chamber instrumental works of the early period of the composer's understanding of form is the «classic». In mature period – resonant, composer skillfully works primarily with the resonant technique of composition. The process of shaping in later works D. Ligeti affect the selected composer composition technique (pointillism, features resonant and traditional hromatyka, mikropolifoniya), means of musical expression, especially his work with rhythmic and dynamic aspects. Key words: composition technique, forming, resonant, pointillism, G. Ligeti.

Hanna Manokina THE ROLE OF THE TIMBRE IN THE CHAMBER CANTATA OF ELENA FIRSOVA «EARTHLY LIFE», POEMS BY OSIP MANDELSTAM

In this article the problem of the timbre functioning in the cyclic composition is considered on the example of chamber cantata of Elena Firsova «Earthly life», poems by Osip Mandelstam. The purpose of

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this research is to identify the main timbre regularities, establish the degree of their influence on the semantic field of the cantata, as well as define the role of timbre in the overall drama cycle. The chamber cantata «Earthly Life» (1984) for soprano, flute, harp, strings and percussion is a 5-part work including the texts created by Mandelstam in 1908–1920: Part I – «The sound, cautious and dull» («Zvuk ostorozhniy i glukhoy»); Part II – «Here are the disgusting toads» («Zdes otvratitelniye zhabi»); Part III – «Given me the body»; («Dano mne telo») Part IV – «Out of the viscous and evil pool» («Iz omuta zlogo i vyazkogo»); Part V – «I am in the round dance of shadows» («Ya v khorovod teeny»). The specifics of the functioning of the timbres in the cantata is determined not so much by their individual coloristic properties as the context they are written in. By putting the same instrument into different textured, articulation, tempo, dynamics, register and other conditions, the composer achieves surprisingly contrasting acoustic results. In analyzing the timbre side of the chamber cantata «Earthly life» it would be rational to speak not of the timbre as such (in pure form), but of the timbre as a complex concept («illusory timbre» according to V. I. Tsytovich), and it should be taken only contextually in close relationship with the rest of the parameters of the composition. Based on this, it is appropriate to appeal to the term «timbre and texture», which, in contrast to the «timbre» concept, better reflects the complex nature of this phenomenon. The conflict interface of two figurative spheres of the cantata – life and death, existence and non-existence – is realized by the composer with the help of various types of the timbre and texture: percussive and cantilena. These conditional names used by M. M. Manafova in connection with the orchestral works of Edison Denisov, aren’t scientific terms, however, from our point of view, they are quite accurate, expressive and can be applied in respect of this composition. In the first type the individual timbre coloration is leveled, instead of which the whole timbre complexes having percussive (or noise) qualities acquire the leading role. In this case even those ensemble instruments, which by their nature are not percussive, become so. The main feature of this timbre and texture is no melodic line, but thematic fragmentation. Active, effective beginning is emphasized by the characteristic complex of expressive means: fast tempo, sharp accentuation, staccato, precise attacca, scherzo, the prevalence of harmonies with dissonant intervalic, sometimes the use of specific methods of sound production (for example, the playing at the stand or by mean of the bow shaft in stringed instruments, or by the flute slap). All this creates the feeling of 26

a cold detachment, certain anonymity of the musical material. To the percussive timbre and texture Firsova refers in the II (the first section) and IV (in the last sections) parts of the cantata, which are associated with the mysterious, alien and hostile environment located beyond the human comprehension. Their key images – disgusting toad jumping in the thick grass (part II), the atmosphere of the evil and viscous pool (part IV) – represent the sphere of nothingness. If the first type of the timbre and texture is characterized by the tendency to the timbre generality, emphasis of percussive and noise properties of the ensemble instruments, in the second, the «cantilena» one, it is observed the opposite tendency – the timbre individualization and the dominance of the melodic quality of the thematism. This timbre and texture is inherent in the slow tempo, smooth, melodiousness, voice-leading flexibility, expressiveness and (relative) autonomy of each of the parties, the extensive use of the orchestral «pedals». The stringed instruments prevail here. The timbre and texture of the «cantilena» type sounds in I, III (in the last sections) and V parts, in the second section of the Part II, and embodies the sphere of life with the images that determine it: sound/melody/melodiousness, beauty, dream, etc. In contrast to the percussive one, it has warmer, «humane» color, as always carries a stamp of the author's personal presence, being a carrier of subjective beginning. Thus, the percussive and cantilena types of the timbre and texture represent two opposite methods of the work with the instruments: 1). negation of their nature and subordination to the general timbre idea; 2). identification of their natural qualities and accentuation of the timbre individuality. Based on the analysis done, the function of the timbre in the chamber cantata of Elena Firsova «Earthly life» can be summarized to the following: 1. Dramatic. Two contrasting types of the timbre and texture used in this work, have a number of stable features and semantically are assigned to a specific sphere of imagery. 2. Conceptional. Contrasting the percussive and cantilena timbre and texture, the composer embodies the main idea of the cycle, centered around the eternal conflict of opposition beginnings: life and death, existence and non- existence, the inner subjective and outer impersonal. 3. Form creating. On the structural and compositional level of the cantata the timbre and texture appears as the organizing principle: throughout the composition (creating contrast between the parts), as well as directly within the individual parts (differentiating the sections of the form). 4. Cycle forming. The semantic arches that have been created on the musical level foremost by means of the timbre texture (parts I–III–V and II–IV), 27

provide the through imaginative development that contributes to the perception of the this chamber cantata cycle as integrity.

L I T E R A T U R E 1. Манафова М. М. Темброколористические свойства оркестровой ткани в музыке второй половины ХХ века (на примере творчества Э. Денисова) : Автореф. дисс. на соискание уч. ст. кандидата искусствоведения / М. М. Манафова. – СПб.: СПбГК им. Н. А. Римского-Корсакова, 2011. – 22 с. 2. Манокина А. Камерная кантата Е. Фирсовой «Земная жизнь» на тексты О. Мандельштама: факторы создания циклического целого / А. Манокина // Київське музикознавство: зб. ст. – Київ, 2016. – вип. 51. – С. 134–145. 3. Скребкова-Филатова М. С. Фактура в музыке: Художественные возможности. Структура. Функции / М. С.Скребкова-Филатова. – М.: Музыка, 1985. – 285 с. 4. Цытович В. И. Специфика тембрового мышления Б. Бартока в квартетах и оркестровых сочинениях / В. И. Цытович // Вопросы теории и эстетики музыки. – Л.: Музыка, 1972. – Вып. 11. – С. 147–166. 5. Цытович В. И. О специфике тембрового мышления Белы Бартока : Автореф. дисс. на соискание уч. ст. кандидата искусствоведения / В. И. Цытович. – Л., 1973. – 23 с.

Манокіна Ганна. Про роль тембру в камерній кантаті Є. Фірсової «Земная жизнь» на слова О. Мандельштама. В даній статті проблема функціонування тембру в циклічному творі розглядається на прикладі камерної кантати Є. Фірсової «Земная жизнь». Мета дослідження – виявлення основних тембрових закономірностей та їхнього впливу на смислове поле твору. В результаті здійсненого аналізу було виявлено два контрастних типи темброфактури, які виконують у кантаті драматургічну, концепційну, формо- і циклоутворюючу функції. Ключові слова: тембр, темброфактура, камерна кантата, Є. Фірсова, О. Мандельштам. Манокина Анна. О роли тембра в камерной кантате Е. Фирсовой «Земная жизнь» на слова О. Мандельштама. В данной статье проблема функционирования тембра в циклическом произведении рассматривается на примере камерной кантаты Е. Фирсовой «Земная жизнь». Цель исследования – выявление основных тембровых закономерностей и их влияния на смысловое поле произведения. В результате проделанного анализа было обнаружено два контрастных типа темброфактуры, которые выполняют в кантате драматургическую, концепционную, формо- и циклообразующую функции. Ключевые слова: тембр, темброфактура, камерная кантата, Е. Фирсова, О. Мандельштам.

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Manokina Hanna. The role of the timbre in the chamber cantata of Elena Firsova «Earthly life», poems by Osip Mandelstam. In this article the problem of the timbre functioning in the cyclic composition is considered on the example of the chamber cantata of Elens Firsova «Earthly life». The purpose of research is to identify the main timbre regularities and their impact on the semantic field of the work. As a result of this analysis, it has been found two contrasting types of thetimbre and texture that performthe dramatic, conceptional, form creating and cycle forming functions in the cantata. Key words: timbre, timbre and texture, chamber cantata, E. Firsova, O. Mandelstam.

Ivan Subbotin РOLYSTYLISM IN THE MUSIC OF SARATOV`S COMPOSERS TRADITIONS

Problems of study of polystylism summarized the many aspects music of the twentieth century. First aspect examines the stylistic processes, secondly – exploring the techniques of composers. The modern scientific theory musicology comprise the following several stages. Preparatory phase this is the stage of style music in the 60-ies. It is associated with the opposition to structuralism. Then the theoretical impulse gives Schnittke in his theoretical works 70s. The theoretical results it is confirmed by examples Schnittke and other composer's music. Classical phase of the study of this phenomenon is associated with the works of Russian musicologists. E. Сhigareva developed theoretically and summarized the typology of compositional tools and techniques of polystylism. Evolution of the theory of polystylism in Russian musicology combines the analysis of certain types of composition techniques. The theory of polystylism is developing in connection with the formation of new areas of musicology. In particular, with the emergence of actual problems of modern art as intertextual interaction in music. In the works of M. Vysotskaya, G. Grigorieva, the L. Diachkova, I. Kochanyk, I. Stogniy and other researchers, the categories of language and style get in-depth reflection on the intertextual level; in the works A. Denisov formulated the methodological continuity of polystylism and intertextuality. Then the theory comes to the formation of a coherent system of understanding the logic intertextual interactions. Western research tradition expands the understanding of polystylism. In this theory polystylistic connected in Neoclassicism. Extensive denotes the use of a different style

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from different musical eras. In the creativity of composers of Saratov Elena Gokhman and Vladimir Michle have got the phenomenon polystylism is one of the leading principles of creative thinking. E. Gochman refers to the «external word» of the genre, compositional, and stylistic levels. Genre level of symbiotic embodiment of polystylism find vocal choral works of the main period of creativity. Polystylistic collage is evident in the early instrumental compositions on the stylistic level. The dialogue style is based on the principles of intertextual interactions by «unmarked» type (a term A. Denisov). Of particular importance is the stylistic model of the Renaissance Madrigal, bringing together various songs Elena Gochman. The genre of the Madrigal in music Elena Gochman is a link of different eras. Madrigal helps the merging of author and one of the leading Renaissance styles. High status models of Madrigal music Elena Gochman has led to the manifestation of the Madrigal at the levels of genre, poetics, performance specifics, vocabulary, author of the psychology of perception and interpretation. In this respect, very indicative of the vocal cycle «Insomnia» to the verses by M. Tsvetaeva, in which there is a level of modeling Madrigal vocabulary features of harmonic thinking of the composer: the modal interpretation of tonality, the triad structure is vertical, the mapping of chromatic harmonies on the type of Gesualdo madrigals. In the light song genre of the Madrigal interpretation perceived semantic and textual allusions to the German Lied. In this respect, it is interesting the decision of the final song «quiet Light» in which are reproduced the intonation, harmonic and textural features of Beethoven's song «Groundhog» and the song Schubert. On the basis of the Madrigal choral used in major spiritual works of the composer. Polystylistical conceptual importance of the principle of composition is the creative credo of Vladimir Michle. Michle`s musical works have beautiful melodies. They reflect the diversity of the world, the works integrate the banal and exquisite styles. They use the vocabulary of the ancient, classical, romantic and popular music. All these features of the style in his four symphonies, chamber and choral compositions. Features of the game logic is to the presence of the form of the second plan (Rondo, variation, Suite). Sonata in compositions of Vladimir Michle are associated with the term «Weltmusik» K. Stockhausen. The composer overcomes them «stylistic incompatibility» through discovering the elusive relationship of popularand academic music, songs and symphonies. In this regard, Vladimir Michle characterized by a lack of consumer rejection of music, her positive feelings and creative thinking as a possible «seed» for «serious» 30

compositions. A vivid example of the implementation of individual collage type of polystylism is the string Quartet «Тo the memory of the Grasshopper or The life of an Artist», in which the author uses 21 a quotation from the music of Vivaldi, Bach, Mozart, Beethoven, Schubert, Alyabiev, Tchaikovsky, Dunaevsky, Pakhmutova, Ostrovsky, Gladkova, Shainsky, Russian folk songs. In this work embodied the essential features of the principle polystylistical thinking of Vladimir Michle. This tendency to reach out to all strata of the world music culture. L. Vishnevskaya, «serious» music of Vladimir Michle corresponds to symbiotic type of polystylism. Its features are manifested in merger and interpenetration of different styles, smoothing of the contrast between style models, smooth stylistic modulation. Polystylistics is the universal language of music and the essential phenomenon of contemporary art. In the Saratov music composers, it is one of the leading principles of creative thinking, adequately reflecting the universal laws of artistic creation in the second half of the twentieth century.

L I T E R A T U R E 1. Вартанова Е. И. Логика сонатных композиций Гайдна и Моцарта / Е. Вартанова. – Саратов, 2003. – 24 с. 2. Вишневская Л. А О музыке Владимира Мишле / Л. А. Вишневская // Музыка и время, 2013. – № 3. – С. 41–42. 3. Высоцкая М. С., Григорьева Г. В. Музыка ХХ века: от авангарда – к постмодерну: учеб.пособие / М. С. Высоцкая, Г. В. Григорьева. – М., 2014. – 440 с. 4. Григорьева Г.В. Новые эстетические тенденции музыки второй половины ХХ века. Стили. Жанровые направления / Г. В. Григорьева // Теория современной композиции / Отв. ред. В. Ценова. – М., 2005. – С. 23–40. 5. Демченко А. И. Ее путь в искусстве / А. И. Демченко // Елене Гохман посвящается. К 70-летию со дня рождения. – Саратов: СГК им. Л. В. Собинова, 2005. – С. 3–72. 6. Денисов А. В. Музыкальный язык: структура и функции: монография / А. В. Денисов. – СПб.: Наука, 2003. – 207 с. 7. Денисов А.В. О соотношении «цитата-контекст» в музыкальном произведении / А. В. Денисов // Поэтика музыкального произведения: новые научные направления. – Астрахань: Астраханская государственная консерватория, 2011. – С. 28–35. 8. Денисов А. О феномене «текст в тексте» в музыкальном искусстве / А. В. Денисов // Контонация: перспективы музыкального искусства и науки о музыке. – СПб.: Астерион, 2011. – С. 160–165. 9. Дьячкова Л. С. Проблемы интертекста в художественной системе музыкального произведения / Л. С. Льячкова // Интерпретация музыкального произведения в контексте культуры: сб. ст. – М.: РАМ им. Гнесиных, 1994. – Вып. 129. – С. 17–40. 10. Коханик І. М. Інтертекстуальність та проблема стильової єдності музичного тексту / І. М. Коханик // Текст музичного твору: практика і теорія: зб. ст. – К., 2001. – Вип. 7. – С. 90–95. 31

11. Стогний И.С. Некоторые аспекты интертекстуальности в музыке / И. С. Стогний // Поэтика музыкального произведения: новые научные направления. – Астрахань: Астраханская государственная консерватория, 2011. – С. 36–44. 12. Стогний И.С. Теория коннотаций в исследовании музыкального текста/ И. С. Стогний // Искусствоведение в контексте других наук в России и за рубежом. Параллели и взаимодействия / Ред.-сост. Г. Ф. Консон. – М.: Liteo, 2015. – С. 489–499. 13. Холопова В. Н. Музыка как вид искусства: Учебное пособие / В. Н. Холопова. – СПб.: Издательство «Лань», 2000. – 320 с. 14. Чигарёва Е.И. Полистилистика / Е. И. Чигарёва // Теория современной композиции / Отв. ред. В. Ценова. – М., 2005. – С. 431–450. 15. Шнитке А. Г. Полистилистические тенденции в современной музыке / А. Г. Шнитке // В. Холопова, Е. Чигарёва, А. Шнитке. – М., 1990. – С. 327–331. 16. Stockhausen K. Texte zur Musik 1970–1977. Bd. 4: Werk-Einführungen, Elektronische Musik, Weltmusik, Vorschläge und Standpunkte / К. Stockhausen – Köln, 1978. – 423 s.

Суботін Іван. Полістилістика у творчості композиторів саратовської школи. Саратовські композитори Олена Гохман та Володимир Мішле обирають полістилістику провідним принципом творчого мислення. О. Гохман звертається до «чужого слова» на жанровому, композиційному, стильовому рівнях. Жанровий рівень втілення симбіотичної полістилістики виявляється у вокально-хорових творах зрілого періоду творчості. Колажна полістилістика проявляється в ранніх інструментальних композиціях на стильовому рівні. Діалог стилів здійснюється на базі принципів міжтекстових взаємодій за «немаркованим» типом (термін А. Денисова). Особливого значення набуває стильова модель ренесансного мадригалу. Концептуальне значення полістилістичного принципу композиції зумовлено творчим кредо Володимира Мішле. Окреслюючи параметр мелодійності музики, він передає багатогранність світу інтеграцією стилів (низьких і високих, банальних і вишуканих), використовуючи лексику старовинної, класичної, романтичної та популярної музики. Саме так означається музика чотирьох симфоній, численних камерних та вокально-хорових композицій Мішле – у дусі поняття Weltmusik К. Штокхаузена. За ствердженням Л. Вішнєвської, «серйозна» музика композитора відповідає симбіотичному, «несерьозна» – колажному типам полістилістики. Ключові слова: музичний стиль, полістилістика, Шніткє, колаж, симбіотичний тип, саратовські композитори, Гохман, Мішле, цитата, алюзія. Субботин Иван. Полистилистика в творчестве композиторов саратовской школы. Саратовские композиторы Елена Гохман и Владимир Мишле аппелируют к полистилистике как к одному из ведущих 32

принципов творческого мышления. Е. Гохман обращается к «чужому слову» на жанровом, композиционном, стилевом уровнях. Воплощение симбиотической полистилистики обнаруживают вокально-хоровые сочинения зрелого периода творчества. Коллажная полистилистика проявляется в ранних инструментальных композициях на стилевом уровне. Особое значение приобретает стилевая модель ренессансного мадригала. Полистилистический принцип композиций Владимира Мишле «окрашивает» музыку четырёх симфоний, многочисленных камерных и вокально-хоровых композиций смысловыми гранями ёмкого понятия Weltmusik К. Штокхаузена. «Серьёзная» музыка Владимира Мишле, по мнению Л. Вишневской, соответствует симбиотическому, «несерьёзная» – коллажному типам полистилистики. Ключевые слова: музыкальный стиль, полистилистика, Шнитке, коллаж, симбиотический тип, саратовские композиторы, Гохман, Мишле, цитата, аллюзия. Subbotin Ivan. Рolystylism in the music of Saratov`s composers traditions. Saratov composers Elena Gokhman and Vladimir Michelet make the polystylistics as one of the leading principles of creative thinking. E. Gokhman refers to the «alien word» of the genre, compositional, and stylistic levels. The symbiotic embodiment of polystylism find vocal choral works of the Mature period of creativity. Polystylistic collage is evident in the early instrumental compositions on the stylistic level. Of particular importance is the stylistic model of the Renaissance Madrigal. Polystylistics the principle compositions of Vladimir Michelet «colors» the music, four symphonies, numerous chamber and choral compositions semantic faces significant concepts Weltmusik K. Stockhausen. «Serious» music of Vladimir Michelet, L. Vishnevskaya, corresponds to symbiotic, «humorous» is a collage type of polystylism. Key words: musical style, polystylism, Schnittke, collage, symbiotic, Saratov composers, Gokhman, Michle, quotation, allusion.

Olesya Gritsyuk GENRE EXPERIMENTS IN CHAMBER VOCAL MUSIC OF THE FIRST THIRD OF THE XX CENTURY

At the moment it can be noted the gradual change of the musical genre that occurs in modern musical life. At the same time, the principles of relationships to the genre which are observed in the musical art abroad ages XX–XXI centuries, ways of rethinking and transformation can be fixed at the end of XIX–early

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XX centuries. Among the transformation principles of the existing genre fund demonstrative is the process of combining several futures of some music genres in one newly created work. Similar changes in the genre of chamber and vocal works are resulted the objective of this study. The article is devoted to questions of genre innovation used in the organization of musical compositions of chamber vocal music abroad XIX–XX centuries. In addition, our task was to identify some innovative techniques that occurs the genre renewal in chamber- vocal music. The study found that one of such functions becomes the principle of genre synthetic, which is based on a method of combining several musical genres in one unique piece of genre synthesis. Actually, the method of communication by some genres and their genre characteristics in a single composition is displayed as a genre synthesis mechanism. The article are considered particular qualities of chamber and vocal creativity abroad the ages XIX–XX, which is characterized by the appearance of a large number of cyclic vocal and instrumental compositions of unusual genre organization. During the study revealed that such genre experiments in music of the last century beginning more often found in chamber music genres, which become quite suitable material with its mobile compound. It can be change enough quickly. Moreover, there were found a close connection present compositions with the song-cycle genre. Namely: availability of voice and accompaniment that are displayed in this case by extended instrumental group; the cyclic structure of the compositions; using poetic or prosaic text. As the evidence there were shown the examples of musical pieces that can be attributed to the works of genre synthesis – «Cat's cradle» for contralto and three clarinets (1915) by Igor Stravinsky, works by Francis Poulenc – «Negro Rhapsody» for baritone, piano, flute, clarinet and String Quartet (1917), «Bestiary» (6 songs on poems by G. Apollinaire) for voice, string quartet, flute, clarinet and bassoon (1919), «Cockades» (3 songs on poems by Jean Cocteau) for tenor, violin, cornet-a-pistons, trombone, bass drum and triangle (1919), Morris Ravel – «Three poems of Stéphane Mallarmé» for voice, piano, string quartet, two flutes and two clarinets (1913), compositions by Arnold Schoenberg – «Pierrot Lunaire» (21 melodrama for voice and the ensemble on poems by A. Giraud, or. 21, 1912), which are synthesized different genre characteristics by few musical genres and contained main futures of song-cycle genre. Wherein, it is noted that the organization of the above works, created with the help of genre synthesis are individual and unique. Thereby, the analysis of the specific of cyclic vocal-instrumental works led to the conclusion that at the beginning of the last century, there was an active 34

process of deformation of the «classical» chamber-vocal cycle by experimenting with different instrumental sets. On the one side, they perform the function previously assigned to the piano part with its outstanding characteristics, and on the other – give it a completely different meaning. The accompaniment is no longer being «complementary» disposition and becomes equal to the vocal part. As a result of such innovation processes in the genre of the song cycle, it appears new genre-synthesis products that update the genre fund of last century genre and set a definite direction to further development of the genre. The features of the embodiment of genre synthesis mechanism in the article were considered by the example of «Madagascar Songs» (1926) by Maurice Ravel on the text of E. Parny, written for Flute-piccolo, Voice, Cello and Piano. M. Ravel has not given the exact genre definition of «Songs...», however, based on the structure futures and the performers set works, it can be called a vocal-instrumental cycle. As a result of research we can say that there were combined characteristics of two music genres in the «Songs of Madagascar» – vocal cycle and chamber ensemble. The features of vocal cycle genre are appeared in use voice and instruments and the cyclic structure. Genre communication with chamber ensemble is expressed in the use of extended instrumental composition and functional principles of the relationship between the parties, which are lying in equal relations among them. Actually, this type of relations between the parties of the ensemble for chamber-vocal music was not typical for the genre of XIX century. In this case, the example of the first issue of the musical composition is considered a feature of relations between parties, and presented the position that an exposure originality parties - the rhythmic and melodic - in the development of musical and poetic material is synthesized by their migrating between parts of voice and instruments. Such interweaving rhythmic and intonation complexes indicate that between Flute, Cello, Voice and Piano there are no any «subordinate» relationship – they are all equal. The study showed that the singularity of the musical art of the early XX century is lying in the active process of changing of the genre fund. We emphasize once again that one of the ways of such a transformation, which update the existing sets of genres, becomes a synthesis method that allows to gradually change the genre system, enabling to understand the nature of the present stage musical essence pieces that combining «classical» genre designation and «non-classical» its implementation. It should be noted that since the processes of genre deformation are continued in XXI century art, the proposed approach to the music genre is especially necessary to researchers,

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artists, students and listeners in order to understand the structure of the genre, its construction, its mode of formation and functioning in the music space. L I T E R A T U R E 1. Васина-Гроссман В. Романтическая песня XIX века / В. Васина-Гроссман. – М.: Музыка, 1966. – 406 с. 2. Васина-Гроссман В. Вокальные миниатюры А. Веберна (к изучению вокальных стилей ХХ века) / В. Васина-Гроссман // Музыкальный современник. – М.: Сов. композитор, 1984. – Вып. 5. – С. 273–287. 3. Жаркова В. К. Дебюсси и М. Равель: два взгляда на проблему «диалога традиций» / В. Жаркова // Київське музикознавство: Культурологія та мистецтвознавство: [зб. статей]. – К., 2004. – Вип. 16. – С. 202-207. 4. Калошина Г. Основные этапы и тенденции развития французской оперы и оратории XX века / Г. Калошина // Музыкальный театр XIX–XX вв: вопросы эволюции. – Ростов-на-Дону: Гефест, 1999. – С. 148–162. 5. Клин В. Українська радянська фортепіанна музика 1917–1977 р. / В. Клин. – К.: Наукова думка, 1980. – 315 с. 6. Лобанова М. Музыкальный стиль и жанр: история и современность. – М.: Сов. композитор, 1990. – 312 с. 7. Мазель Л. Строение музыкальных произведений : [учебн. пособие] / Л. Мазель. – [3- е изд.]. – М.: Музыка, 1986. – 528 с. 8. Медушевский В. О закономерностях и средствах художественного воздействия музыки / В. Медушевский. – М.: Музыка, 1976. – 255 с. 9. Попова Т. Музыкальные жанры и формы / Т. Попова. – М.–Л.: Гос. муз. изд–во, 1951. – 299 с. 10. Равель в зеркале своих писем / [сост. М. Жерар, Р. Шалю]. – Л.: Музыка, 1988. – 248 с. 11. Ручьевская Е. Цикл как жанр и форма / Е. Ручьевская, Н. Кузьмина // Форма и стиль. – Л.: Изд–во ЛОЛГК, 1990. – Ч. 2. – С. 129–158. 12. Смирнов В. Морис Равель и его творчество / В. Смирнов. – Л.: Музыка, 1981. – 221 с. 13. Тукова И. Теория жанра и музыкальная практика ХХ – начала ХХІ столетий / И. Тукова // Науковий вісник НМАУ імені П. І. Чайковського : Жанр як категорія музичної творчості. – К., 2009. – Вип. 81. – С. 20–26. 14. Цуккерман В. Музыкальные жанры и основы музыкальных форм / В. Цуккерман. – М.: Музыка, 1964. – 160 с.

Грицюк Олеся. Жанровые эксперименты в камерно-вокальной музыке первой трети XX века. В статье рассматривается действие механизма жанрового синтеза, направленного на изменение классического жанрового фонда в музыке рубежа XIX–ХХ столетий. Этот способ работы с материалом рассматривается на примере «Мадагаскарских песен» М. Равеля. Жанровый анализ позволил выявить в этом сочинении черты двух жанровых инвариантов – вокального цикла и камерного ансамбля. Ключевые слова: механизм жанрового синтеза, жанровый анализ, жанровый инвариант, вокальный цикл, камерный ансамбль. 36

Грицюк Олеся. Жанрові експерименти в камерно-вокальній музиці першої третини XX століття. У статті розглядається дія механізму жанрового синтезу, що спрямована на видозмінення класичного жанрового фонду в музиці рубежу XIX–ХХ сторіч. Цей спосіб роботи з матеріалом розглядається на прикладі «Мадагаскарських пісень» М. Равеля. Жанровий аналіз дозволив виявити в цьому творі риси двох жанрових інваріантів – вокального циклу та камерного ансамблю. Ключові слова: механізм жанрового синтезу, жанровий аналіз, жанровий інваріант, вокальний цикл, камерний ансамбль. Gritsyuk Olesya. Genre experiments in chamber vocal music of the first third of the XX century. In article action of the mechanism of the genre synthesis directed on change of classical genre fund in music of boundary XIX–ХХ of centuries is considered. This mode of work with a material is considered on an example «Madagascar songs» by M. Ravel. The genre analysis has allowed to reveal in this composition of line of two genre invariants – a vocal cycle and chamber ensemble. Key word: mechanism of a genre synthesis, genre analysis, genre invariant, vocal cycle, chamber ensemble.

Maria Marchenko QUESTION OF ACCURATE REALIZATION OF THE VERBAL TEXT OF UKRAINIAN BAROQUE COMPOSITIONS (XVII – THE FIRST HALF OF THE XVIII CENTURY)

Ukrainian artists of the XVII – first half of the XVIII century absorb European stylistic canons synthesizing them with Slavic folklore and already existing own musical traditions. Thus religious features of the West and East Slavic correlate in a combination of two different religions. It creates a special national baroque style. An understanding of this style requires a new approach based on a literary text works of Ukrainian Baroque, which allows realization of the traditional Western European origins and Slavic nature and national roots. One of the most «not agreed» issues among the performers of partes compositions is the issue of verbal text. The verbal text shall be understood as one of the main stylistic reference points in formation of historically authentic sound, as indisputable fact is the synthesis of musical and rhetorical art in ancient vocal music, ranging from the late Renaissance, as well as paramount importance of the words communication in the tradition of the Church (which continues today).

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This aspect of performing is extremely important, because the identification of the specificity of the verbal text is not only in power of musicians, but also the audience of any level of acquaintance with the music of this style. The first question that probably a choirmaster will confronted with during a work with verbal text of partes composition is a matter of language and pronunciation that were inherent of the Baroque artists in the first half of XVII–XVIII centuries. Due to the relatively «fuzzy» information regarding the performing aspect, the partes compositions enjoy moderate popularity in performing choral practice. Works by M. Berezovskyi, D. Bortnyanskyi, A. Vedel are more often included in the repertoire of modern choirs, than, for example, Diletskiy. However, some Ukrainian groups aimingly practiced Partes at certain stages of their creative work: Choir «Kiev» under the direction of Gobdych, Lviv Chamber Ensemble «Acappella Leopolis» (until recently under the direction of R. Stelmashchuk now L. Kapustina), male sextet «Concord». Each of the aforementioned vocal groups embodied a different approach to the verbal text in their audio: Choir «Kyiv» in its performance by mixing Ukrainian and Russian pronunciation: during the execution of the Resurrection Canon by M. Diletskyi (This post can be easily found on the various resources on the Internet) performers sung the first phrase «Voskreseniya den» with a Ukrainian accent (Ukrainian letter «e») and the second sentence (canon on the word «Prosvitymsya») – they sing a Russian «i». Thus «Voskreseniya den», «Prosvetimsya lyudie») is a kind of linguistic synthesis. Ensemble «Acappella Leopolis» adheres to a more consistent position: they give voice to the Ukrainian pronunciation of any text of partes composition. Male sextet Concord recreates partes anonymous motets in its records in Russian language in its Old Church Slavonic invariant. Modern scientists linguists argue that the invariant of the Church Slavonic language, which is firmly established in the Orthodox churches, was first recorded in the «Grammar» by the famous philologist Meletiy Smotrytskyi (1577–1633). This literary work was created and published (1619) with the purpose of the preservation and restoration of the «pure» language of the Orthodox rite in opposition to the Catholic one which began to dominate, (implementation of Latin in schools, etc.). Author of the book «What language prayed the ancient Ukraine» Ganna Kuzemska, on the basis of research by academician Bulakhovskyi, argues that the language, «immortalized» by M. Smotrytskyi is the language of Slavic Manuscripts in Moscow version, which date from no earlier than XV– XVI centuries, and is not authentic example of old Ukrainian language. 38

This fact is also confirmed by the well-known researcher Nimchuk V. V. In his analysis of the work by M. Smotrytskyi, he cites a comment of the founder of contemporary Slavic studies Y. Dubrovskyi and says that Dubrovskyi «can not endorse many of the things that are not supported by the oldest written artifacts». Also, the differences between the Russian and Ukrainian church rituals are confirmed by holding in the 20-30 s of the XVII century of large-scale church reforms by P. Mohyla. So, it becomes obvious for us that in 1619 (the year of the publication of «Grammar» by Smotrytskyi) various editions of Church – Slavonic language were already formed regarding national peculiarities of pronunciation. This fact allows us to conclude that the performance of polyphonic compositions of Ukrainian and Russian origin can be differentiated in terms of language: for example in the during performance of compositions by M. Diletskyi and V. Titov in one concert the pronunciation can be different – appropriate to the origin of the composers. So, in order to be correct in the implementation of the verbal text of a partes composition, it would be necessary to make a translation of the Byzantine liturgical texts into old Ukrainian language with the corresponding transliteration. However, understanding the realities of today's performance, algorithms of such transliteration from the Church Slavonic language are offered by Ganna Kuzemska, based on linguistic works of senior scientists G. Pivtorak, V. Nimchuk, V. Shevchuk, etc. Ganna Kuzemska says that the basic rules of transliteration can be formulated in a few words: «e» sounds like [i]; «je» – like [e], and at the beginning of a word, after vowels and prefixes – like [je]; «i» – like [y], and after vowels – like [ji]. Other rules are systematic updates, additions and exceptions due to the richness of the sacred language, its reforms and the requirements of the time. L I T E R A T U R E 1. Буцкая С. К проблеме народных первоистоков в партесном многоголосии / С. Буцкая // Методы музыкально-фольклористического исследования: Сб.науч.тр. –М., 1989. – С. 88–96. 2. Герасимова-Персидская Н. Деякі питання текстологічного аналізу / Н. Герасимова- Персидська // Питання методології радян. теорет. музикознавства: Збірник статей / [Упоряд. проф. Н. О. Горюхіна.]. – К., 1982. – №13. – С. 37–54. 3. Герасимова-Персидская Н. Діалог з минулим / Н. Герасимова-Персидська // Музика. – 1979. – №6. – С. 8. 4. Герасимова-Персидская Н. … и слово в музыку вернись / Н. Герасимова-Персидская // Науковий вісник НМАУ ім. П. І Чайковського. – К., 2004. – Вип. 38. Муз. стиль: теорія, історія, сучасність. – С. 3-8. 5. Герасимова-Персидська Н. Італійські впливи у українській музиці XVII ст. / Н. Герасимова- Персидська // Музична культура Італії та Франції: від бароко до романтизму (проблеми стилю та міжкультурних контактів): зб. наукових праць. – К., 1991. – С. 17–25.

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6. Герасимова-Персидская Н. Концерти і мотети покаянні – проблеми пов’язання тексту і музики // Духовний світ бароко: зб. статей. – К., 1997. – С. 12. 7. Герасимова-Персидская Н. О восприятии поэтического смысла / Н. Герасимова- Персидская // Науковий вісник НМАУ ім. П. І. Чайковського: зб. статей. – К., 2006. – Вип. 60. Теоретичні та практичні аспекти музичного смислоутворення. – С. 3–8. 8. Герасимова-Персидская Н. Партесный концерт в истории музыкальной культуры. – М.: Музыка, 1983. – 288 с. 9. Герасимова-Персидская Н. Роль слова в знаменном распеве и партесном многоголосии // Musica Antiqua Europae Orientatis. – Быдгощ, 1975. – т. 4. 10. Григорьева Г. Некоторые аспекты анализа музыкального произведения в системе современных стилевых критериев / Г. Григорьева // Музыкальное произведение: сущность, аспекты анализа: Сборник статей / [сост. И. А. Котляревский, Д. Г. Терентьев]. – К.: Музична Україна, 1988. – С. 61–70. 11. Даньшина Н. В. Специфіка виконання ренесансної вокальної музики в умовах вітчизняної хорової практики: дисертація на здобуття наук. ступеня кандидата мистецтвознавства: спец. 17.00.03 «Теорія та історія культури» / Н. В. Даньшина. – 2013, 299 с. 12. Історія України: навчальний посібник / [авт.-упорядн. Лановик В. Д., Лазарович М. В.] – К.: Знання-Прес, 2001. – 688 с. 13. Куземська Г. Якою мовою молилася давня Україна: Правила української транслітерації церковнослов’янських текстів / Ганна Куземська. – К.: КЖД «Софія», 2012. – 112 с. 14. Кузьмінській І. Витоки, музична теорія та виконавська практика партесного багатоголосся: дисертація на здобуття наукового ступеня кандидата мистецтвознавства: спеціальність 17.00.03 «музичне мистецтво» / І. Кузьмінський. – К., 2014. – 171 с. 15. Кузьмінський І. Львівський рукопис «Граматика Музикальна»: джерело пізнання теорії та практики партесної творчості М. Дилецького / І. Кузьмінський // Науковий вісник НМАУ ім. П. І. Чайковського. – К., 2009. – Вип. 88. Старовинна музика. – сучасний погляд. Ч. 1 – С. 200–209. 16. Німчук В. В. Граматика Смотрицького – перлина давнього мовознавства. URL: http://litopys.org.ua/smotrgram/sm01.htm. (дата звернення: 3.10.2016). 17. Нічик В. М., Литвинов В. Д., Єтратій Я. М. Гуманістичні і реформаційні ідеї в Україні (XVI – початок XVII ст.) / АН УРСР. Інститут філософії (відп. ред. Горський В. С.). – К.: Наукова думка, 1990. – 384 с. 18. Шуміліна О. Стильова динаміка української духовної музики XII–XIII ст. за матеріалами рукописних колекцій. – Донецьк, 2012. – 299 с.

Марченко Марія. Питання достовірної реалізації вербального тексту партесних творів (XVII – перша половина XVIII ст.). Стаття присвячена проблемі системного, осмисленого підходу до питання реалізації вербального тексту партесних творів в контексті напряму «історично-орієнтоване виконавство». Стаття містить наукове обгрунтування даної проблеми, в ній розглядаються сучасні виконавські підходи в інтерпретації даного аспекту художнього тексту, аналізується 40

їх зміст, з точки зору автентичності та пропонується нова концепція трактування вербального тексту з позиції сучасного осмислення історичних процесів та обставин зазначеного періоду. Ключові слова: партесні твори, достовірна реалізація вербального тексту, мова і вимова, виконавська інтерпретація, українське бароко. Марченко Мария. Вопрос достоверной реализации вербального текста партесных произведений (XVII – первая половина XVIII вв.). Статья посвящена проблеме системного, осмысленного подхода к вопросу реализации вербального текста партесных произведений в контексте направления «исторически-ориентированное исполнение». Статья содержит научное обоснование данной проблемы, в ней рассматриваются современные исполнительские подходы к интерпретации данного аспекта художественного текста, анализируется их содержание, с точки зрения подлинности и предлагается новая концепция трактовки вербального текста с позиции современного осмысления исторических процессов и обстоятельств указанного периода. Ключевые слова: партесные произведения, достоверная реализация вербального текста, язык и произношение, исполнительская интерпретация, украинское барокко. Marchenko Maria. Question of accurate realization of the verbal text of Ukrainian baroque compositions (XVII – the first half of the XVIII century). The article is dedicated to the problem of the systematic, comprehended approach to the implementation of the verbal text of Ukrainian baroque composotions in the context of the direction of «historically-oriented performing». This article contains a scientific rationale of the problem, it considers contemporary performing approaches to the interpretation of this aspect of the musical text, analyzes their contents, in terms of authenticity and offers a new interpretation of the concept of the verbal text from the perspective of the modern understanding of historical processes and circumstances of this period. Key words: Ukrainian baroque composistions, authentic implementation of the verbal text, language and pronunciation, performing and interpretation, Ukrainian Baroque.

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ІІ. PROBLEMS OF MUSICAL EDUCATION AND THE MODERN SOCIAL CONTEXT

Helen Kasianova SPECIFICITY SOLVE DANCE SCENES IN THE DIRECTOR'S INTERPRETATIONS OF OPERAS TODAY

Actuality is due to different polarity at the beginning of the third millennium directing research and experimentation in the field of musical theater. Modern theater scene presents artistic performances in the context of the reconstruction of old operas and their modernized version of the transfer time and place of action in today's realities. At the same time there is a new wave of rethinking traditional realist interpretation of operas under the increased possibilities of musical theater, its technical equipment. The use of new media art and technology in addressing the scenographic opera performances enhances the disclosure and deep drama work increases its spectacular, emotional impact on the viewer era of information society. Multi directorial interpretations of opera performances in today's conditions leads to finding new approaches to solve plastic and choreographic dance scenes as genre- style matching the chosen conceptual development work. Some discrepancy current search for new plastic-making musical dance drama opera, their contradictions determine the need for the study, analysis and systematization of these phenomena and justify the relevance of the chosen topic. Analysis of scientific papers art, theoretical and creative works of prominent figures in musical theater to determine the overall picture of the formation dance in the opera in the historical context. However, they do not give answers to genre and style features scenes of dance interpretation according to modern research and experimentation in musical theater. The aim of the publication is to clarify compliance solution dancing scenes according to the specific interpretation of operas as the main trends of musical theater today. Analytical base study were twenty video versions of operas from the Baroque to Postmodernism made over the past forty years outstanding directors of leading musical theater world. The theoretical basis of research work have become art, opera prominent figures past and present, systematized and analyzed in accordance with modern trends in musical theater. Analysis of artistic reconstruction of the old opera baroque and classical works based on F. Bossana, A. Dzhyvilyehova,

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H. Boyadzhyyeva, V. Krasovskoyi, Zh.Zh. Noverra that help to understand the essence of processes in musical theater in the context of contemporary aesthetics. Analysis of traditional opera performances realistic solution is based on the work H. Alfeyevskoyi, V. Vanslova, B. Horovycha, B. Pokrovskoho, L. Rotbauma, Yu. Stanishevskoho that contribute to highlighting aspects of authentic embodiment works in the context of national schools. Analysis modernization dance scenes in the opera repertoire is based on the memoirs of the founders of the early twentieth century and A. Dunkan, M. Fokina, labor expert A. Parina theater, art monographs V. Krasovskoyi, A. Chekalova, M. Cherkashyna-Gubarenko. They reflected the complex process of research and experimentation with fusion of classical and modern dance, vocals and choreography, which resulted in the emergence of new field formations genre forms: ballet-oratorio, ballet- piano concert, choreographic symphony, cantata choreography, dance opera. However, three recent studies raise the problem of the influence of stage design, multimedia technology on modern interpretations directing operas, difficulties of plastic solutions. Analysis of TV and video versions of plastic and choreographic solution operas on the main trends of musical theater today led to the following conclusions. 1. Artistic reconstruction of old opera peculiar style line dance scenes of hedonistic interpretation of Baroque aesthetics and gallant aesthetics of classicism. 2. The decision, by tradition, opera vital characteristic historical accuracy, authenticity styles of dance scenes time and place of the action in the book that match the aesthetics of realism. 3. Mod versions of vintage, classic and modern operas inherent eclectic mix of dance scenes in the styles of different eras, the synthesis of various dance techniques ironic attitude to the established forms and interpretations. 4. Solution of dance scenes in the context of multimedia art and new technologies in operas inherent nature syncretic combination of various arts and modern technical capabilities scenic design. 5. All four trends of musical theater today have enormous potential and long term, which should be able to use. 6. The most promising in the information society is the tendency of multimedia art and new technologies in the treatment of operas that meets the requirements of time, but needs improvement in their form and content. L I T E R A T U R E 1. Алфеевская Г. С. Кармен. Интонации и смыслы / Г. М. Алфеевская. – М. : Композитор, 2004. – 168 с.: ил. 43

2. Боссан Ф. Людовик XIV, король-артист / Филипп Боссан. – М. : Аграф, 2002. – 272 с. 3. Ванслов В. Танцы в опере / В. Ванслов // Опера и ее сценическое воплощение. – М. : ВТО, 1963. – С. 196–206. 4. Горович Б. Оперный театр: пер. с польск. / Бронислав Горович. – Л. : Музыка, 1984. – 224 с.: ил. 5. Дживилегов А.К., Бояджиев Г.Н. История западноевропейского театра от возникновения до 1789 года / А. К. Дживилегов, Г. Н. Бояджиев. – М. : РАТИ– ГИТИС, 2013. – 528 с. 6. Дункан А. Танец будущего. Моя жизнь: мемуари / Айседора Дункан. – К. : Мистецтво, 1989. – 350 с. 7. Красовская В.М. Западноевропейский балетный театр: Очерки истории: От истоков до середины XVIII века / В. М. Красовская. – М. : Искусство, 1979. – 295 с.: 40 л. ил. 8. Красовская В.М. Западноевропейский балетный театр: Очерки истории: Эпоха Новерра / В. М. Красовская. – М. : Искусство, 1981. – 286 с.: 32 л. ил. 9. Красовская В. Русский балетный театр начала XX века: в 2 ч. – Ч. 1: Хореографы / В. Красовская. – Л. : Искусство, 1971. – 526 с. 10. Новерр Ж.-Ж. Письма о танце: пер. с фр. под ред. А. А. Гвоздева. 2-е изд., испр. / Ж.-Ж. Новерр. – СПб. : Лань; Планета музыки, 2007. – 384 с.: ил. (переизд. кн. 1807, 1927 гг.). 11. Парин А. Европейский оперный дневник / А. Парин. – М. : Аграф, 2007. – 448 с. 12. Покровский Б. А. Введение в оперную режисуру / Б. А. Покровский. – М. : ГИТИС, 2009. – 88 с. 13. Ротбаум Л. Опера и ее сценическое воплощение. Записки режисера / Л. Ротбаум. – М. : Сов.композитор, 1980. – 264 с. 14. Станішевський Ю. Національний академічний театр опери та балету України імені Тараса Шевченка: Історія і сучасність / Ю. Станішевський. – К. : Муз. Україна, 2002. – 736 с.: іл. 15. Фокин М. М. Против течения. 2-е изд., доп. и испр. / М. М. Фокин. – Л. : Искусство, 1981. – 910 с.: 36 с. ил., портр. 16. Чепалов О. І. Хореографічний театр Західної Європи XX століття: моногр. / О. І. Чепалов. – Харків : ХДАК, 2007. – 344 с.: іл. 17. Черкашина-Губаренко М. Оперний театр у мінливому часопросторі / М. Черкашина-Губаренко. – Харків : АКТА, 2013. – 392 с.

Касьянова Олена. Специфіка вирішення танцювальних сцен у режисерських інтерпретаціях оперних вистав сьогодення. Розлянута жанрово-стильова багатоманітність режисерських інтерпретацій оперного репертуару сьогодення. Проаналізовані основні тенденції розвитку сучасного музичного театру. Визначена стильова відповідність вирішення танцювальних сцен у контексті художньої реконструкції старовинних опер, традиційного реалістичного втілення вистав, модернізацій репертуару, застосування мультимедійних та новітніх арт-технологій у

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трактуванні музично-театральних творів. Окреслені перспективи розвитку означених тенденцій в умовах сучасного інформаційного суспільства. Ключові слова: оперна вистава, режисерська інтерпретація, танцювальна сцена. Касьянова Елена. Специфика решения танцевальных сцен в режиссерских интерпретациях оперных спектаклей современности. Рассмотрено жанрово-стилевое многообразие режиссерских интерпретаций оперного репертуара современности. Проанализированы основные тенденции развития современного музыкального театра. Определено стилевое соответствие решения танцевальных сцен в контексте художественной реконструкции старинных опер, традиционного реалистического воплощения спектаклей, модернизации репертуара, использование мультимедийных и новейших арт-технологий в трактовке музыкально-театральных произведений. Очерчены перспективы развития определенных тенденций в условиях современного информационного общества. Ключевые слова: оперный спектакль, режиссерская интерпретация, танцевальная сцена. Kasianova Helen. Specificity solve dance scenes in the director's interpretations of operas today. Considered genre and stylistic diversity directorial interpretations of operatic repertoire today. The basic trends of modern musical theater. Defined style dance scenes matching solution in the context of artistic reconstruction of old operas, performances of traditional realistic implementation, upgrade repertoire of multimedia art and new technologies in the treatment of musical and theatrical works. Prospects of development of the mentioned trends in today's information society. Key words: opera, director's interpretation, the dance scene.

Valeriya Billot «THE PALADINES» BY J.-P. RAMEAU ON THE OPERA AND BALLET STAGE

Jean-Philippe Rameau’s opera «The Paladines» and their interpretation on the opera and ballet stage have been analysed in accordance with directions and tendencies of modern opera practice. In the researches, devoted to the performance problems of Rameau’s opera and ballet works, the appeal to the stage life of the work is one of the examining aspects of the history genre limited by different aspects of the interpretation. In this article the attention is 45

concentrated on the performing aspects of opera and ballet works by Rameau. The aim of the article – to analyse the modern interpretation of stage as an example of modern opera. On certain sample of the opera creation by Rameau the next tasks are settled: - to examine the basic European tendentions of modern performing practice, caring about it’s national peculiarities; - to determine the criterion of the authentic performance of opera and ballet work of J. Ph. Rameau; - to analyze the distinguished example of the experimental direction of opera and ballet work of the musician. Baroque music has come back on the modern stage powerfully and firmly. On the modern wave and reconstruction of ancient performing styles the French opera began to renew actively. Stage managers examine the theatrical aesthetics of the baroque theatre, experiment, conductors reconstruct the ancient instruments the sounding aesthetics. Meeting the leading researches, devoted to modern problems of the stage interpretation, proved that researchers of the opera genre only partly touch the performance problems. The significant work in this field is represented in the dissertational researches by V. Danshina, A. A. Sokolskaya, S. U. Lysenko, and also in the works by G. Combar and Krechmar, devoted to the evolution of opera in France. Among the works of Ukrainian and Russian scientists the problem of stage interpretation on the west European opera and ballet stage are examined in the works by L. Block, V. Krasovskaya, A. Bulychova, E. Bukena, K. Rosenshyld, V. Konen, M. Muginstein, M. Cherkashyna-Gubarenko. Modern music performing practice suggests a wide diapason of scenic readings of classical music and theatre heritage, that is from authentic to vanguard. The performing interpritation idea means visually plastic embodiment of a musical work, which is realized not only by means of the theatrics, but the choreography as well. In the diapason of different models of the dialogue of modern interpreters with music texts of the musicologist Lysenko S. U. on one side there are authentic readings, reconstruction, novelty, attributes, etc. On the other side there are more radical forms of the art creation, which direct to the novelty, distinction, but without changing the auther’s idea. Gustyakova in her dissertation «Classical opera text in modern culture by Tchaikovskiy» introduces the next levels of classical work text interpretations: 1. Exstrapolation – the text of classical work left practically without changings.

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2. Adaptation – due to some peculiarities the text of classical work needs to be adapted to the specifics of the new conditions; 3. Assimilation – the classical work text is only the cause, for the new text creation, the interpretation borders paraphrase. The modernization problem of classical music and theatre heritage in performing practice of modern musical theatre is closely connected with the problem of adaptation of classical works to perception of modern spectator. In this article we’ve shown how the stage managers modernize the baroque opera; search a compromise, when the orchestra revives the baroque instruments sounding style, and the stage decoration is rich in different modern associations, the ballet dancers are dressed up to date, and the baroque ballet does not always follow that epoch traditions. We have followed up on the example of the Paladines opera Rameau the leading European tendences of modern musical theatre practice minding the national peculiarities of the baroque opera development in France. It’s a synthetic work with certain baroque features, theatrical scenery by means of machinery. We see the elements of fantasia, sight, which were the specific distinctions of musical theatre works of the baroque epoch. Taken as a foundation for the analysis the comedy-ballet «Paladines» the classification of its enterpretations levels of the classical work by Gustyakova, we treat this performance as the level of adaptation, where we watched the individual reading of the opera text by the stage managers, while the content of the opera text of the authentic original have been saved. The text of the classical work was adapted for specific new conditions of its usage, which were in accordance with modern renewal practice of theatre performance on the basis of visual, design and computer technique. It was determined the stage manager’s approach to the performing enterpretation of «Paladines», which together with the presuppositions of the authentic reading, opened the space for different kinds of experiments in the style of the baroque music. L I T E R A T U R E 1. Густякова Д. Ю. «Классический оперный текст в современной культуре: «Пиковая дама» П. И. Чайковского» [Текст]: автореф. дис. кандидата искусствоведения : 24.00.01 «Теория и история культуры» / Д. Ю. Густякова. – Ярославль, 2006. – 40 с. 2. Ливанова Т. История западноевропейской музыки до 1789 года [Текст] : учеб. в 2-х т. / Т. Литвинова. – изд. 2-е, перераб. и доп. – Москва : Музыка, 1982. – Т. 2, XVIII век. – 622 с.: нот. 3. Лысенко С. Ю. Синтетический художественный текст как феномен интерпретации в музыкальном театре : дис. доктора искусствоведения : спец. 17.00.02 «Музыкальное искусство» / С. Ю. Лысенко. – Новосибирск, 2014. – 465 c. 47

4. Moritz Reiner E. Les Paladins or «Baroque that rock!» / Reiner E. Moritz. – Paris : Charlotte de Grey, 2005. – 35 p. 5. Moritz Reiner E. «Baroque that rocks!»: a documentary film / Reiner E. Moritz. – Paris : Opus Arte, 2005. 6. Rameau Jean-Philippe Les Paladins: Comédie-Ballet: mise en musique par Mr. Rameau / Jean-Philippe Rameau. – Paris, 1760. – 231 p.

Бие Валерия. «Паладины» Ж.-Ф. Рамо на современной оперно- балетной сцене». Проанализировано произведение «Паладины» Ж.-Ф. Рамо и рассмотрено его интерпретацию на оперно-балетной сцене в контексте направлений и тенденций современной оперной практики. Выявлено, что проблема осовременивания классического музыкально-театрального наследия в постановочной практике современного музыкального театра тесно связана с проблемой адаптации классических произведений к восприятию современного зрителя. Прослежены ведущие европейские тенденции современной музикально-театральной практики с учётом национальных особенностей развития барочной оперы-балета во Франции. Ключевые слова: барочная опера, исполнительские традиции, режиссёрская интерпретация, аутентичное исполнительство, синтетический художественный текст, режиссёрский артефакт, адаптация. Бійо Валерія. «Паладини» Ж.-Ф. Рамо на сучасній оперно- балетній сцені». Проаналізовано твір «Паладини» Ж.-Ф. Рамо та розглянуто його інтерпретацію на оперно-балетній сцені у контексті напрямів і тенденцій сучасної оперної практики. Виявлено, що проблема осучаснення класичної музично-театральної спадщини в постановочній практиці сучасного музичного театру тісно пов’язана з проблемою адаптації класичних творів до сприйняття сучасного глядача. Прослідковано провідні європейські тенденції сучасної музично- театральної практики з урахуванням національних особливостей розвитку барокової опери-балету у Франції. Ключові слова: барокова опера, виконавські традиції, режисерська інтерпретація, автентичне виконавство, синтетичний художній текст, режисерський артефакт, адаптація. Billot Valeriya. «The Paladines» by J.-P. Rameau on the opera and ballet stage. Jean-Philippe Rameau’s opera «The Paladines» and their interpretation on the opera and ballet stage have been analysed in accordance with directions and tendencies of modern opera practice. It is found, that the problem of modernizing of the musical theatric heritage in the staging practice of the modern theatre is closely connected with the adaptational problem of 48

classical compositions to the modern audience perception. The leading European tendencies of modern musical theatric practice has been examined, taking in the baroque opera-ballet development in France. Key words: baroque opera, performing traditions, stage manager’s interpretation, performance authentic, synthetic art text, a stage manager’s artifact.

Veronika Zinchenko «THE DREAM OF ROSA» BALLET BY A. RODIN: INNOVATION OR SECONDARINESS?

In search of new artistic possibilities, art of ballet in XXI century, often chooses a way of rethinking the classical heritage. Among the main trends of this kind – it paradoxical interpretation with emphasis on updating classic heritage along with an upgrade in choreography (new styles: jazz dance, modern jazz and contact improvisation, contemporary and others). Confirmation of mentioned trends serve as events taking place in the modern Ukrainian ballet, in part, in the ballet «The dream of Rosa» by Alexander Rodin (composer) and Alexei Busko (choreographer). Called the opus ballet-fantasy on music K. Weber and paraphrase by M. Fokin`s ballet. It is emphasizes not only his genealogy, but the certain intellectual program which aimed at comparing a new opus and a famous Fokin`s ballet. The first source of modern Ukrainian version it the ballet «Le spectre de la rose» (choreography by Mikhail Fokin) by K. Weber's music in the orchestration of Berlioz. Premiere was in 1911 in Monte Carlo. A century later, in 2014, at the Kyiv Children's Theater of Opera and Ballet was held the «reincarnation» of the ballet «The dream of Rosa» with music and choreography by A. Rodin and A. Busko. Is important fact of the relationships modern ballet with his predecessor. Among the common factors are the following: - Use of Music «Invitation to Dance» by Karl Weber in the orchestration of Berlioz (Fokin took all, Rodin – partial citation); - Domination of the storyline realm of Morpheus; - Purification by power of love. Main Unlike in the modern ballet is destroy a boundaries between the two realities – being and sleep, because, unlike Fokin, dream in the interpretation in Busko – a world where not only there, but also regenerates heroine. An additional effect is dramatic increasing humanization the flower of roses, which this time embodied in the image of the suffering girl Rose. 49

Briefly about the plot. Rose (Elena Dolgih) – a young girl who lives with her mother. All action except the last two seconds ballet take place in her dream, where she dreamed that she suffers by Huntington's chorea, which damage a musculoskeletal system. Before the spectator passes all her life - birth , stages of the disease, the healing power of love and recurrence of the disease, which, however, has no power over the soul of the girl. Except Rose, in the ballet there are two heroes – Mother (performs Anastasia Kharchenko) and Thief, who became the accidental love Rosa (his role very choreographer Alexei Busko). There is a third, allegorical hero – a ray of light that, like a x-rays, scans soul heroes. About that all happens in a dream Rose, the viewer learns only in the last seconds of play when Rosa woke up, and says «mother». This is the director's most important discovery ballet. Central role in defining the focus of dramatic ballet is in comparing «two kinds of music» quote by «Invitation to Dance» K. Weber and original music Alexander Rodin. The main theme of quote is the mazurka, which appears in dramatically opposite points – in the most dramatic and the most lyrics that implements the principle two-worlds in which live the main hero. K. Weber`s presents harmonious music – which in undistorted, natural kinds – is the epitome of a happy ghost world, where there is joy, beauty and elegant simplicity. Dramatic moments of ballet it is in distorted version cited mazurkas, which is perceived negatively, as a violation of the harmony of the world. Original music by A. Rodin builds all tense storyline. Ballet, which consists of three parts, is beginning with a paradoxical representation of two identical function, but performed alternately introductory chapters – introduction and overtures. Introduction (completely in music Rodin) – is entering the atmosphere of mysticism, anxious anticipation. Overture is, (represented by light music Weber) – ideal, ephemeral world. The principle of coexistence of the two-world space and implemented in ballet choreographic solutions. The dancing are generates two types of reality, Accompanied by romantic music is a flowing, regulatory movements; and strained intonation space displayed unnatural, ugly movements of the characters. It was importantly the new choreographer innovative approach to disease associated with disorders of the musculoskeletal system. Choosing to implement disease in the dancing, A. Busko stopped for Chorea Huntington. The important word here is «Chore» which, again, has dance momentum, because it is known that in Greek chorea – a dance. Of course, the presence quotes of genre and intonation, the common poetic text, direct addressing to the ballet by Mikhail Fokine – a features that 50

could be factors in the secondary ballet. However, used quote in the ballet serves not only «intelligent guide» to audience, she sending him to the ballet «Le spectre de la rose», but also plays an important, dramatic feature. This function is to form two worlds genre and intonation space a ballet. On the one hand, Weber`s mazurka in its undistorted form as a carrier of a particular style, age, emotional state – she creates the ideal world of the heroine. On the other hand, the process of deformation of the quoted material represents a devastating real world. This relationship made poetry and deformed mazurkas Weber and creates the new intonation and dramatic whole that emphasizes innovation status ballet «The dream of Rosa» by A. Rodin. So artistic result the paraphrase by M. Fokin`s ballet – artistic and holistic appearance perfect opus with its own dramatic accents and complex story, with new genre – intonational lines, innovative choreography, which draws techniques, including , with no choreographic sources. L I T E R A T U R E 1. Карсавина Т. П. Театральная улица / Т. П. Карсавина. – Л. : Искусство, Ленинградское отд-ние, 1971. – 247 с. 2. Балет: энциклопедия / [гл. ред. Ю. Н. Григорович]. – М. : Советская энциклопедия, 1981. – 623 с. с илл. 3. Нижинская Ромола. Вацлав Нижинский / Р. Нижинская / [пер. с англ. Н. И. Кролик]. – М. : Русская книга, 1996 – 168 с. с илл. 4. Poesies completes de Theophile Gautier / Paris : Charpentier, Libraire-editeur 39 rue de l’universite, 1885. – 426 p.

Зінченко Вероніка. Балет О. Родіна «Видіння Рози»: інновація чи вторинність? Український балет «Видіння Рози» (музика О. Родіна, хореографія О. Бусько), парафраз на балет М. Фокіна (балет-фантазія на тему К. Вебера) – приклад сучасної інтерпретації класичного твору, спрямованої на новації у сфері хореографії та переосмислення інтриги. Доведено, що полістилістика, реалізована антитезою двох жанрово- інтонаційних сфер (авторської музики Родіна та цитованої Вебера), є фактором виявлення контрасту двох світів – реального та ефемерного. Важливість цитованої музики К. М. Вебера у створенні нового інтонаційно- драматургічного цілого в балеті «Видіння Рози». Репрезентація нових форм танцювальної пластики у зв’язку з втіленням у балеті спотвореної експресії «Хореї Хантінгтона» – хвороби опорно-рухового апарату. Ключові слова: український балет, парафраз, полістилістика, цитата, класична спадщина.

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Зинченко Вероника. Балет А. Родина «Видение Розы»: инновация или вторичность? Украинский балет «Видение Розы» (музыка А. Родина, хореография А. Бусько) – парафраз на балет М. Фокина (балет-фантазия на тему К. Вебера) – пример современной интерпретации классического произведения, нацеленного на новации в хореографии и переосмысление интриги. Доказано, что полистилистика, реализованная антитезой двух жанрово-интонационных сфер (авторской музыки Родина и цитированной Вебера), является фактором выявления контраста двух миров – реального и эфемерного. Важность цитируемой музыки К. М. Вебера в создании нового интонационно- драматургического целого в балете «Видение Розы». Репрезентация новых форм танцевальной пластики в связи с воплощением в балете искаженной экспрессии «Хореи Хантингтона» – болезни опорно-двигательного аппарата. Ключевые слова: украинский балет, парафраз, полистилистика, цитата, классическое наследие. Zinchenko Veronika. «The dream of Rosa» ballet by A. Rodin: innovation or secondariness? Ukrainian ballet «The dream of Rosa» (music by A. Rodin, choreography by A. Busko) – a paraphrase of Fokin`s ballet (ballet-fantasy on K. Weber`s theme) – is an example of a contemporary rethinking of a the classical heritage, aimed at choreographic innovations and rethinking of the intrigue. It is proved that polystylism which is based on the antithesis of two genre and intonation spheres (the coexistence of Rodin`s and Weber`s music) is a factor which identifies the contrast between the two worlds – the real and the ephemeral. The importance of music quoted by K. M. Weber lies in the creation of new intonation and drama unity in «The dream of Rosa» ballet. Due to the fact of depicting «Huntington's chorea» in ballet (a musculoskeletal system disease) new forms of choreographic movements were introduced. Key words: Ukrainian ballet, paraphrase, a work with a classic heritage, quote.

Anatolii Pavko, Ludmila Kurylo PSYCHO-PEDAGOGICAL DOMINANTS OF TEACHER OF SOCIO-HUMANITARIAN DISCIPLINES

The article reveals the personal and psychological-pedagogical criteria that must be met by modern high school professor, focuses on the importance of the factors of innovation in the activities of the faculty at the present stage of modernization the education system in Ukraine. From the point of view of innovative pedagogy in the learning process, knowledge must become an organic component of the personality, its essence,

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the basis and methodology of her behavior, activities and life itself. In our opinion, the main feature of creative model of the teacher of a higher educational institution, is its ability and willingness to conduct research, to produce new knowledge. Otherwise it turns into a repeater, a columnist of foreign scientific truths, and the status of «scientist-professor» does not belong to him. The full moral right to be a scholar – teacher is the only one who is developing and enriching the science, has his own scientific school and disciples. Internal attraction to scientific research should be self-reflection for each high school professor. This desire is a clear sign of his intellectual and professional abilities, the basis for the formation of the free, not biased opinion, unbiased, impartial scientific attitude of a scientist and a professor. Ukraine's integration into the European community, accession to the Bologna process, preparing the personality of the specialist to work in conditions of liberal economy require today from higher education is not just mastering the amount of old knowledge, but also the constant production, diffusion and use of new knowledge. The aim of the educational process of absorption a certain way of thinking for the production of new knowledge. Without significant scientific potential, the interpenetration of science and education can’t fully function various types of educational institutions. That is why the educator who is aware of these strategic principles for the development of higher education and make all necessary efforts for the practical implementation, can become the protagonist of the modern educational system. It should be emphasized that psycho – pedagogical culture of the professor is one of the most important professional requirements for deep knowledge by professor of his subject and methods of its meaningful absorption. Only fluency in the subject matter can arouse students interest to knowledge, respect for the professor and his needs in the educational process. For successful work as a professor of high school he must have pedagogical thinking and psychological restraint, the combination of fast response with quick wit, emotional balance. Friendly attitude towards students and the ability to feel their mood, to understand individual psychological characteristics of each student contribute to the formation of such an integral quality of the teacher as pedagogical tact. Students appreciate not only professor’s knowledge but also the ability to convey them in the most interesting and intelligible form. The professor purposefully implements and widely uses active methods of cognitive activity of students and plays the role of the professor – manager and director of training, ready to offer students effective set of teaching tools. He 53

orients itself not only on the formation of the students a certain amount of knowledge, but also on their potential for independent activities, the ability to find answers to life questions. High school professor is, above all, the personality that must possess a set of universal qualities. This is confirmed by the variety of functional responsibilities of the teaching staff of the higher school, which define the three major components of its activities: scientific – subject, psycho – pedagogical and cultural – educational. Therefore, having in mind the innovative trends of development of higher education at the present stage, the variety of tasks assigned to her faculty corporation, to the essential characteristics of creative high school professor, include: 1). intellectual, scientific and methodological level; 2). the ability to continuously targeted, realized and motivated the research; 3). rapid implementation of innovative ideas in the educational process; 4). ensuring integrative nature of research and educational activities; 5). high level of psycho – pedagogical training and culture. L I T E R A T U R E 1. Дичківська І. М. Інноваційні подагогічні технології: навч.посіб. / І. М. Дичківська. – К. : Академвидав, 2004. – 352 с. 2. Зербіно Д. Мотивація у науковій творчості / Д. Зербіно // Cвітогляд. – 2007. – №3. – С. 56–60. 3. Кремень В. Якість освіти – основа розвитку / В. Кремень // Урядовий кур’єр. – 2006. – 29 грудня. 4. Романець Д. Мені важливо знайти правду / Д. Романець // Україна молода. – 2008. – 15 березня. 5. Чернилевский Д. В., Морозов А. В. Креативная педагогика и психология. Учебное пособие / Д. В. Чернилевский, А. В. Морозов. – М. : МГТА, 2001. – 300 с.

Павко Анатолій‚ Курило Людмила. Психолого-педагогічні домінанти викладача соціо-гуманітарних дисциплін. В статті розкрито особистісні та психолого-педагогічні критерії, яким повинен відповідати сучасний викладач вищої школи, акцентується увага на значенні інноваційних чинників у діяльності професорсько-викладацької корпорації на сучасному етапі модернізації системи освіти в Україні. Ключові слова: викладач, інноваційна педагогіка, креативна модель. Павко Анатолий, Курило Людмила. Психолого-педагогические доминанты преподавателя социо-гуманитарных дисциплин. В статье раскрыты личностные и психолого-педагогические критерии‚ которым должен отвечать современный преподаватель высшей школы‚ акцентируется внимание на значении инновационных факторов в

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деятельности профессорско-преподавательской корпорации на современном этапе модернизации системы образования в Украине. Ключевые слова: преподаватель‚ инновационная педагогика‚ креативная модель. Pavko Anatolii, Kurylo Ludmila. Psycho-pedagogical dominants of teacher of socio-humanitarian disciplines. In the article prove an important role of psychological, pedagogical criterions, modern teachers corporations of night school in accordance with them. The article deals with the problem of modern factors the teachers activities for new Ukrainian system of education. Key words: teacher, modern pedagogy, creative model.

Anton Gryschenko CARL CZERNY AND HIS EDITION OF «THE WELL-TEMPERED CLAVIER» – THE FIRST COMPREHENSIVE PERFORMING-PEDAGOGICAL READING OF THE COLLECTION

The idea that J. S. Bach’s name was forgotten for some time after his death is not true to some extent. Indeed, in the end of the XVIII c. – beginning of the XIX c. «new music» started to gradually supersede great polyphonists of the past out of the audio recall of the great masses. However, among the professionals, their works were still the objects of attention on the part of performers as well as editors (publishers). Despite the fact that the time of masterpieces of «old» masters to come out to the stage had not come, their apprentices, sons, followers, who had high positions in society, were still alive, therefore, it is historically unreasonable to talk about oblivion. One of the indirect demonstrations of the spark of life of J. S. Bach’s music is the release of «The Well-Tempered Clavier» edited by Carl Czerny in 1837 («Edition Peters» publishing house). The work of the most famous apprentice of L. van Beethoven received major distribution among musicians and was republished after that multiple times. Before evaluating its benefits and drawbacks, it is necessary to throw light on the history of the origin of the edition and the attitude of contemporaries to Czerny’s work. The offer to become one of the editors of Bach’s clavier compositions was made to C. Czerny while preparing the publishing of composer’s collected works, initiated by «Edition Peters» publishing house. The idea to engage one of the best musicians of that time cannot be considered unfortunate – to give this job to Czerny

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was aimed to create a unique work that for some time would solve problems connected with editing and publishing of «The Well-Tempered Clavier» and other pieces of the composer. Also the opportunity of making such a work, undoubtedly, corresponded to his pedagogical and performing experience. However, just like every creation of any field of art and culture that is ahead of its time, the edition of the compilation of C. Czerny’s preludes and fugues received acclamation neither from contemporaries nor from pedagogues and performers of the next generation. The responses of contemporaries to work of Czerny are full of reprimands of «distortion of majestic music» and debatably underpinned criticism. One of the most fervent adversaries of edited reading of «The Well-Tempered Clavier» was Robert Schumann. «The thing is that we still need a classic edition of «The Well-Tempered Clavier» by J. S. Bach. Czerny’s edition with his unnecessary finger notation and truly absurd performance notations etc. seem ludicrous to me. The old editions are for the most part inaccurate. Moreover, there are various interpretations of the text that confuse the matter even more, so nobody knows which edition to stick to. Although, since many of the different variants of the text belong to Bach himself, printing them under each other seems quite interesting to me». If one can agree with the composer regarding the editions of «The Well-Tempered Clavier» – the authenticity of the authorial text of that time was doubted, indeed; but concerning the edition of C. Czerny, Schumann’s opinion should not be considered fair. Of course, for an outstanding performer and composer fingering and performing notations could seem «unnecessary» and «ludicrous», but it must not be forgotten that Czerny’s editorial work to this extent is truly unique. Having provided his version of collection with designations of fingering, tempo (according to Maelzel’s metronome), nuances, also having done well-grounded work with all the sources available at that moment (editions of H. H. Negel, N. Simrock, B. C. Breitkopf and H. C. Hertel, and manuscript copies by I. N. Forkel and C. F. H. Schwenke), the editor and the musician corrected all observed misprints, selected, to his view, best variants of preludes and fugues, and created the first in history of the collection variant of performing-pedagogical reading of Bach’s text. Besides, the edition of «The Well-Tempered Clavier», made by C. Czerny, was the first one to make its aim to «explain» intricate polyphonic composition to the average listener, make the music of great composer comprehensible for a wide range of performers and pedagogues. Apart from R. Schumann, other fervent adversaries of the edition of «The Well-Tempered Clavier» by C. Czerny included some venerable musicians of 56

that time – H. von Bülow and A. Rubinstein. Criticism was received by those editorial «expressive» means that were needed not by experienced musicians, but by «learners» and «searchers» – «romanticized» dynamics, dashing and articulating «diversity». The following recognition is even more astonishing – little by little «The Well-Tempered Clavier» became more popular and available, in particular, the edited version of Austrian musician. This situation happened to be up until forthcoming of later editorial versions of the collection, that featured additions to authorial text for making the understanding easier – works by F. Busoni, B. Mugellini and B. Bartok. All in all, while making a conclusion about the edited version of «The Well-Tempered Clavier» by C. Czerny, the following should be emphasized. Firstly, C. Czerny’s edition, despite some disputable moments, is the first edition with performing-pedagogical orientation. Like all works of pioneers in this field (and not only this), Czerny’s work could not satisfy the tastes of neither contemporaries, nor the followers. With some flaws, which natural for early romantic music (bright dynamic contrasts, often change of moods, tempos and general imaginative «diversity»), this edition of «The Well-Tempered Clavier» is nonetheless innovative in terms of textological side and editorial- performing outlook of the musician, whose indisputable pedagogical experience was reflected in the work. Just as any innovation in any area, this work, obviously, had some imperfections, which in any way don’t diminish its cultural importance, allowing on this historical period of establishing of performing-pedagogical rendering of «The Well-Tempered Clavier» to make understanding of creation of the composer and make the music of J. S. Bach closer to circles of music-admirers. L I T E R A T U R E 1. Айзенштадт С. А. Учитель музыки. Жизнь и творчество Карла Черни / С. А. Айзенштадт. – М. : Композитор, 2010. – 216 с. 2. Алексеев А. Д. История фортепианного искусства. В 2 ч. / А. Д. Алексеев. – М. : Музыка, 1967. – Ч. I. – 144 с. 3. Алексеев А. Д. История фортепианного искусства. В 2 ч. / А. Д. Алексеев. – М. : Музыка, 1967. – Ч. II. – 288 с. 4. Мильштейн Я. И. «Хорошо темперированный клавир» И. С. Баха и особенности его исполнения» / Я. И. Мильштейн. – М. : Музыка, 1967. – 390 с. 5. Терентьева Н. А. Карл Черни и его этюды / Н. А. Терентьева. – СПб. : Композитор, 1999. – 68 с. 6. Шуман Р. Письма. В 2 т. / Р. Шуман. – М. : Музыка, 1982. – Т. 2.– 525 с. 7. Czerny C. Bach J. S. Das Wohltemperierte Klavier. Teil 1. Herausgegeben von Carl Czerny. Vorwort. – Leipzig : Peters, 1963.

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Грищенко Антон. Карл Черні та його редакція «Добре темперованого клавіру» Йогана Себастьяна Баха – перше цілісне виконавсько-педагогічне прочитання збірки. Розглянуті деякі характерні особливості першої виконавсько-педагогічної редакції «Добре темперованого клавіру» К. Черні. Проаналізована історія виникнення означеної праці, визначено ставлення сучасників до згаданої роботи, окреслені конкретні редакторські позначення К. Черні – аплікатура, орнаментика, текстологія, темп та інші. Визначені переваги та недоліки редакції К. Черні, надана цілісна історико-культурологічна оцінка даному музичному феномену. Ключові слова: «Добре темперований клавір», редакція, динаміка, темп, аплікатура. Грищенко Антон. Карл Черни и его редакция «Хорошо темперированного клавира» Иоганна Себастьяна Баха – первое целостное исполнительско-педагогическое прочтение сборника. Рассмотрены некоторые характерные особенности первой исполнительско-педагогической редакции «Хорошо темперированного клавира» К. Черни. Проанализирована история возникновения данного труда, определено отношение современников к упомянутой работе, очерчены конкретные редакторские обозначения К. Черни – аппликатура, орнаментика, текстология, темп и другие. Определены достоинства и недостатки редакции К. Черни, представлена целостная историко-культурологическая оценка данному музыкальному феномену. Ключевые слова: «Хорошо темперированный клавир», редакция, динамика, темп, аппликатура. Gryschenko Anton. Carl Czerny and his edition of «The Well-Tempered Clavier» – the first comprehensive performing-pedagogical reading of the collection. The article covers some peculiarities of the first performing-pedagogical edition of «The Well-Tempered Clavier» by C. Czerny. The author deals with the history of the origin of the work, the attitude of the contemporaries to the mentioned work, and also some specific editorial notations of C. Czerny – fingering, embellishment, textology, tempo and others. Along with the accomplishments and flaws of the edition, the author aims to give comprehensive historical and culturological characterization to this musical phenomenon. Key words: «The Well-Tempered Clavier», edition, dynamics, tempo, fingering.

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IIІ. WORLD AND NATIVE MUSIC CULTURE: STYLES, SCHOOLS, PERSONALIAS

Valeriya Zharkova «HISTORY OF MUSIC» IN FIVE «APPROXIMATIONS», OR SEVERAL METHODOLOGICAL REMARKS IN AN ERA OF HIGH IP-BASED TECHNOLOGIES...

In the article, the author reflects on the role of the «history of music» in the spiritual space of the modern technocratic world. The author identifies five main research positions in the works on the history of music and justifies the need for the new tasks of historical research, due to the spiritual insights of the twentieth century. 1. The researcher wants to increase the interesting picture. In this case, the emphasis is on the word «interesting», i.e.the one not boring, attracting attention and thus detracting from the dailyroutine. «Interesting story» lives in numerous popular publications: biographies of composers, simplified presentation of plans and stages of creating their works, descriptions of unfamiliar musical life, etc. As such, the «history of music» helpfully satisfies a natural curiosity, as human being seldom passes up an opportunity to wonder the unknown and entertaining. 2. The researcher seeks to examine individual elements, components and principles of combining them into a whole. This «gesture-based approach» reflects the desire to understand how it works ... In this vein numerous works are written,that clarify the technical, artistic and aesthetic parameters of the music of other eras, cultures, countries, and time-distance only thickens the aroma of «historicity»... 3. The researcher «zooms» the object he is interested in, along with other similar objects.In this case, the researcher must find some special way of approaching as usual automatic gesture will not allow to capture the «turn». Thus, comparison methods, methods of detection of the identities and differences, worked out in musicology, allow to reveal the patterns (in genre preferences, linguistic principles, the construction of semantic fields and so forth) and «enlarge» the object, justify the regularity of certain artistic decisions. Normally, such observations, supplemented by resonating artistic solutions in other areas of the arts, as well as facts fixed in the documents, referred to as «cultural and historical context». 4. The researcher approximates the very brink of the visible, which is already in contact with the invisible.Here the desire to discover the origins, the

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genesis of the selected object manifests itself, and for this purpose to review sketches, drafts, preserved words of the author, refer to the letters and diaries. In this centripetal movement in the depth of the phenomenon under study the investigator has greaterchances to bring the field of meanings closer,than within a centrifugal movement in the «historical context in general». However, and more dangers that lurk on the way of understanding the concept of the musical composition, or the fact of biography, in case of insufficient internal culture of researcher, weak scientific intuition, and most importantly – the lack of the «check by ear». Here it is especially important to – paraphrasing a genius – «verify harmony be algebra»; to relate the artistic result to preliminary calculations... 5. The researcher himself plays the role of the «surface of approximation» and connects distant worlds.It is obvious that it is crucial for researcher here not to make up his own story, filling in the semantic vacuum, but to try to feel the pulsation of all possible approximations; in other wordsto identify the interaction of the text with all types of context. Five indicated approximations, if we use the popular in today's society ideology of clotting of the sense of action into «slogan», might be characterized as follows: 1. Inquisitive «Must it happen this way?». 2. Fairly-reasonable «So that's how it is...». 3. Instructively-affirmative: «That’s the way it is...» 4. Inquiring: «Why would it be this way?» 5. Reflexive «Why it happens?» History of music seems to be the tension of the differently distanced layers of meaning. Then far-fetched division into «historians» and «theoreticians», formalized in the Soviet years, loses relevance. Professionalism and ability to work with the text come at the forefront, to include text in a special intrinsic measurement system of its own, at the same time precisely selecting corresponding coordinates in aoverall cultural spiral. Exemplary in this regard are stunning works by Philip Beaussant – director and founder of the Center for Baroque Music at Versailles, the author of many books devoted to the musical culture of the XVII– XVIII century – Monteverdi, Lully, Couperin, Rameau. Each time historian musicologist facesa distance: spatial, temporal, and cultural. It also requires the translation, understanding, «approximation». Moreover, not mechanical... You can call this process any word, even so hackneyed as «history», but the main thing is to preserve the value of the act of creating a unique space of sense, which links the sounds, texts, words, 60

events in the new wholenessaccording to the researcher’s consciousness will, which captivates the above. This is practically unthinkable «transformation» from the notional depth into the something touchable, and is the subject area of professional musicologist. No wonder that there are many substitutions on its way of encounter with the daily reality. «History of Music» is the same escaping from fixed once and forever landmarks phantom, as a notion of the integrity arising from the elements only when their number isneither less no more than necessary... This does not mean, of course, that there were no epochs keen to compile differences in perfect unity. It appears though, that the academic «music histories» are the most distant from the sounding spacesofdifferently distanced from the reader mental slices of European culture. In addition, in some cases, hard-to-reach for understanding. Therefore, the fate of the history of music today, in a world split into virtual worlds and real archival artifacts; granting freeimagination to researcher, but also demanding the utmostdeepnessfrom him, is so important!If not public, but the circle in which this understanding is possible. Therefore, the training courses should envisage certain time, so that students understand what they should try to understand; realize that behind the relative chronological landmarks lay endless semantic fields, that have to be found, heard and related to those areas of the absolute sense, which are at the base of the spiritual universe, and with an area of relative individual ideas about it. Only such a «history of music» gives moves a soul towhat has to be reached... L I T E R A T U R E 1. Блок М. Апология истории, или Ремесло историка / М. Блок. – М.: Наука, 1986. – 254 с. 2. Варгафтик А. Партитуры тоже не горят / Артем Варгафтик. – М.: Классика-XXI, 2006. – 333 с. 3. Жарков А. Художественный перевод в музыке : дисс. … кандидата искусствоведения : 17.00.03 – Музыкальное искусство / Александр Николаевич Жарков. – Киев, 1994. – 180 с. 4. Жаркова В. Творчість Моріса Равеля: музичні тексти і комунікативний контекст: автореферат дис. ... доктора мистецтвознавства : 17.00.03 – Музичне мистецтво / Валерія Борисівна Жаркова. – Київ, 2010. – 27 с. 5. Жаркова В. Современные научные подходы к осмыслению понятий «текст» и «контекст» в связи с задачами изучения французской музыкальной культуры / В. Жаркова. – Київське музикознавство. Культурологія та мистецтвознавство: Зб. статей. – Київ, 2010. – Вип. 34. – С. 128–139. 6. Зенкин К. В. Музыка – Эйдос – Время. А. Ф. Лосев и горизонты современной науки о музыке / К. В. Зенкин. – М.: Памятники исторической мысли, 2015. – 464 с. 61

7. Ливанова Т. История западноевропейской музыки до 1789 года: Учебник. В 2-х т. / Т. Ливанова. – 2-е изд., перераб. и доп. – М.: Музыка, 1983. – Т. 1. По XVIII век. – 696 с., нот. 8. Лосев А. Музыка как предмет логики / А. Лосев. – М.: Академический Проект, 2012. – 208 с. 9. Мамардашвили М. Лекции о Прусте (психологическая топология пути) / Мераб Мамардашвили. – М.: Ad Marginem, 1995. – 547 с. 10. Пруст М. В поисках утраченного времени: Под сенью девушек в цвету / М. Пруст. – СПб.: Амфора. ТИД Амфора, 2005. – 605 с. 11. Ромен Р. О месте, занимаемом музыкой во всеобщей истории // Роллан Ромен. Музыканты прошлых дней [Электронный ресурс]. – Режим доступа : http://az.lib.ru/r/rollan_r/text_1908_muzykanty_proshlyh_dney.shtml (Дата обращения 10.05.2016) название с экрана. 12. Святой Фома Аквинский. Сумма теологии. Часть первая / Святой Фома Аквинский. – М.: Савин С. А., 2006. – 814 с. 13. Beaussant Ph. Francois Couperin / Philippe Beaussant. – Paris: Fayard, 1980. – 594 p. 14. Beaussant Ph. Lully ou Le musicien du Soleil / Philippe Beaussant. – Paris: Gallimard, 1992. – 893 p. 15. Candé de R. Histoire universelle de la musique / Roland de Candé. – Paris: Ed. du Seuil, 1978. – T. 1. – 631 p. 16. Cullin O. Brève histoire de la musique au Moyen Age / Olivier Cullin. – Paris: Fayard, 2002. – 186 p. 17. Handy I. Histoire de la musique au Moyen Age et à la Renaissance / Isabelle Handy. – Paris: Ed. Marketing S. A., 2009. – 312 p. 18. Histoire de la musique. La musique occidentale du Moyen Age à nos jours / [sous la direction de Marie-Claire Beltrando-Patier]. – Paris: Bordas, 1995. – 639 p. 19. Histoire de la Musique Occidentale. Sous la direction Brigitte et Jean Massin. – Paris: Fayard, 1995. – 1312 p.

Жаркова Валерия. «История музыки» в пяти «приближениях», или несколько методологических замечаний в эпоху высоких IP- технологий… В статье автор размышляет о роли «истории музыки» в духовном пространстве современного технократического мира. Автор выявляет пять основных исследовательских позиций в трудах по истории музыки и обосновывает необходимость новых задач исторического исследования, обусловленных духовными прозрениями ХХ века. Ключевые слова: история музыки, текст, контекст, смысл. Жаркова Валерія. «Історія музики» в п'яти «наближеннях», або декілька методологічних зауважень в епоху високих IP-технологій. У статті автор розмірковує над долею «історії музики» в духовному просторі сучасного технократичного світу. Автор виявляє п'ять основних дослідницьких позицій в працях з історії музики та обгрунтовує 62

необхідність нових завдань історичного дослідження, обумовлених духовними прозріннями ХХ століття. Ключові слова: історія музики, текст, контекст, смисл. Zharkova Valeriya. «History of Music» in five «approximations», or several methodological remarks in an era of high IP-based technologies... In the article, the author reflects on the role of the «history of music» in the spiritual space of the modern technocratic world. The author identifies five main research positions in the works on the history of music and justifies the need for the new tasks of historical research, due to the spiritual insights of the twentieth century. Key words: history of music, text, context, meaning.

Andrii Pavlenko CHARACTERISTIC OF FRANCOIS-JOSEPH GOSSEC’S SYMPHONIES OP. 4 CONSTRUCTION

François-Joseph Gossec (1734–1829) – French composer, who combined his life with two historic eras: the Enlightenment and Romanticism. The French Revolution determined their break and defined the fate of F.-J. Gossec-artist somewhat. He was the author of about 60 symphonies, five comic operas, four tragédie lyrique, two operas dedicated to Revolution, 60 revolutionary songs and marches. But most of all he was considered to be the founder of the French symphony and the outstanding musical figure of the era. For contribution to the development of the symphony, F.-J. Gosseс can be put together with J. Sammartini, G. Wagenseil, J. Stamitz and J. Haydn. His career as a symphony composer began at the time when in Italy, Germany and Austria proceded active formation of symphonic tradition. In Italian practice, the head of which was J. Sammartini, used a three-part cycle model with tempo ratio «fast-slow-fast», there was gradual stabilization of the «first allegro» form, and music vocabulary formed under the influence of opera. On the territory of Austria Italian achievement evolved to adapt to national traditions by Viennese composers G. Wagenseil and G. Monn. Perhaps the most important was the contribution of the Mannheim school, whose founder was J. Stamitz. In that school symphony form «fast-slow-minuet-fast» becoming a dominant. The development of the sonata allegro lasted for decades in every national symphony schools, grew and got a clear structure, exposition and recapitulation sections, the developments became more expanded and complicated.

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Instead, F.-J. Gossec developed the symphonic cycle based not only on the achievements of Italians, Germans and Austrians schools, but also taking into account national musical culture. In the first movements of Symphonies op. 4 (created in 1758), F.- J. Gossec used classical sonata form, where the first and second theme contrasts between themselves by character, thematically, tonally and by arrangement. A notable trend is the merge of the second theme and final section of the exposition in a single material, which is one of the remaining signs of baroque sonata form. Developments in most of the symphonies are deployed, important, dramatic section, which develops and pushes exposition themes (in particular, by using sequences that lead to remote minor tonalities just before recapitulation). In a recapitulation all themes sound again in full size. That’s indicating the end of sonata-symphony cycle formation in the early period of F.-J. Gossec’s composer's creativity. However, in the third and fourth symphonies op. 4 he used the method of inserting the material from development into the recapitulation, which can be explained by the desire for giving more dramatic dynamic. This is due to active development, which often introduces new thematic material, and it’s repeated again or receives the culminating phase in the recapitulation. The second movements contrast in comparison with the first as tonally as genre – they have a significant impact of vocal arias. It highlights by a typical arias theme and homophonic texture – the main theme is carried out by the first violin, while the remaining instruments – maintenance. F.-J. Gossec used a form like in baroque-sonata form and, most importantly, for the kind of aria da capo. In general, all first and second movements of symphonies are the most remote part by imagery and thematic content. Minuets are close to the traditions of the Mannheim school. They return to the figurative and the thematic system of the first allegro, as well as the primary tonal key. The gallant minuet is the most commonly used subtype. All the finals are optimistic result of the symphonies cycle (except for the Sixth Symphony, where final written in d-minor). The scope of the main theme is dominating, and the scope of the second almost have not any contrast to the first. Developments are small, and composer focuses on the third section-recapitulation, in which appears parts of the main theme and second theme replaced by the coda. All of these characteristics make it possible, on the one hand, to talk about the impact of the Mannheim school in the early works of F.-J. Gossec. On the other hand, notable differences from the Mannheim symphonic model can be explained as author's style that evolved features of French musical culture that 64

developed under the strong influence of theatrical trends and intonations of opera’s vocabulary. Unlike most of Mannheim’s composers, F.-J. Gossec creates detailed sonata developments with dramatic confrontations of exposition’s theme. His early symphonies have full recapitulation, which, due to theatrical thinking and music language of the composer can become more dynamic, and besides, the material of development can be inserted inside it. Thus, the composer often made recapitulation as another phase of dramatic development. Similar principles developed by the authors of subsequent periods, beginning with L. van Beethoven in musicology acquires positioning codes with a «second development». All of this signs will develop in the future works of the master, thus creating their own national model of the symphony. L I T E R A T U R E 1. Арановский М. Г. Симфонические искания: исследовательские очерки. Проблема жанра симфонии в советской музыке 1960–1975 годов / М. Г. Арановский. – Л.: Советский композитор, 1979. – 287 с. 2. Брянцева В. Н. Французская комическая опера XVIII века: пути становления и развития жанра / Вера Николаевна Брянцева. – М.: Музыка, 1985. – 311 с. 3. Горюхина Н. Эволюция сонатной формы [изд. 2, доп. ] / Н. Горюхина. – К.: Музична Україна, 1973. – 310 с. 4. Евдокимова Ю. Становление сонатной формы в предклассическую эпоху / Ю. Евдокимова // Вопросы музыкальной формы [ред. Вл. Протопопов]. – М.: Музыка, 1972. – выпуск 2. – С. 98–138. 5. Кириллина Л. В. Классический стиль в музыке XVIII – начала XIX века – Ч. III. : Поэтика и стилистика / Лариса Валентиновна Кириллина. – М.: Издательский дом «Композитор», 2007. – 367 с. 6. Рыцарев С. Симфония во Франции до Берлиоза / Сергей Александрович Рыцарев. – М.: Музыка, 1977. – 104 с. 7. Wolf E. Symphony : 18th century / Jan La Rue, Eugene Wolf // The new Grove dictionary of music and musicians. – New York: Grove, 2001. – vol. 24: Sources of instrumental ensemble music to Tait.

Павленко Андрій. Особливості будови циклу у симфоніях ор. 4 Франсуа-Жозефа Госсека. Проаналізовано особливості побудови Шести циклів op. 4 (1758 р.) – одних з перших симфоній, створених у Франції. Простежується вплив італійської та мангаймської симфонічних шкіл на форму, тематизм, композицію частин. У сонатній формі простежуються як усі ознаки класичної побудови, так і риси ранньосонатної форми. Водночас виокремлюються риси, характерні

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виключно для Ф.-Ж. Госсека, які інспіровані культурними традиціями Франції та впливають на композицію і тематизм кожної з частин. Ключові слова: Госсек, французькі композитори, французька симфонія, класичний стиль у музиці. Павленко Андрей. Особенности построения цикла в симфониях op. 4 Франсуа-Жозефа Госсека. Проанализированы особенности построения Шести циклов op. 4 (1758 г.) – одних из первых симфоний, созданных во Франции. Прослеживается влияние итальянской и мангеймской школ на форму, тематизм, композицию частей. В сонатной форме прослеживаются как все черты классического построения, так и раннесонатной формы. Выделяются черты, типичные для Ф.- Ж. Госсека, вдохновленные культурными традициями Франции и которые влияют на композицию и тематизм частей. Ключевые слова: Госсек, французские композиторы, французская симфония, классический стиль в музыке. Pavlenko Andrii. Characteristic of Francois-Joseph Gossec’s Symphonies op. 4 construction. Analyzed six symphonies op. 4 (1758) – one of the first symphonies, created in France. Showing the influence of Italian and Mannhein schools to the symphonic form, themes, composition. In sonata form traced all signs of classic construction and baroque form. Alsodefined the exclusive characteristics for F.-J. Gossec, that inspired by cultural traditions of France and affect the composition and themes of each part. Key words: Gossec, French composers, French symphony, classical style in music.

Mariia Voronina THE FEATURES OF THE GENRE AND STYLE OF THE «TRILOGIE SACRÉE» BY H. BERLIOZ «L’ENFANCE DU CHRIST»

Unlike the works by H. Berlioz of the mature period, his later writings are given much less artist’s and researcher’s attention. In the Ukrainian music space such situation is observed with the composer's oratorio «L’Enfance du Christ». The purpose of the present article is an attempt to identify the genre and stylistic and dramatic features of the trilogy (first in the domestic musicology) and determine its significance through the works by H. Berlioz. The «trilogie sacrée» «L’Enfance du Christ» was created by the composer for four years, from 1850 to 1854. An important feature of the construction of

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the whole was the gradual formation of the creative vision of the author around the choir «L’Adieu des bergers à la Sainte Famille», signed by the name of the fictitious conductor of the XVIIth c. Pierre Ducré. Subsequently, this choral piece was the central one of the second part, entitled «La fuite en Egypte». Then, realizing the semantic, dramatic and musical potential of the plot, and abandoning the Pierre Ducré’s hoax, composer created a continuation of the story – the third part, «L'arrivée á Saïs». Its event-center was the scene of intense unsuccessful attempts of St. Joseph and the Virgin Mary to found shelter in a strange Egyptian city. And only after final piece, the «Epilogue», where the author has managed to raise the issue in the timeless and plotless dramatic level, it became clear the creative solution of the beginning of a trilogy – the first part of «Le songe d'Hérode». Despite this fragmentary approach to the work, at first glance, «The Childhood of Christ» is an amazing example of integrity and naturalness. Contrary to fears of H. Berlioz, his work was warmly accepted by the public in Paris and won for him the recognition he was practically deprived there before. The essential difference between the style of the oratorio and the composer's earlier works, with theirs extreme romantic manner of writing, attracted the most attention of the contemporaries, while the original and innovative features marked the approach to the Christmas theme, the interpretation of the genre, and the dramatic decision of the «trilogie sacrée». A plot sequence of «L’Enfance du Christ», which was gradually forming by H. Berlioz, goes beyond the traditional meaning of the subject, but the author does it correctly, preserving the Christian ideas without distortion. For example, the composer shifts the emphasis from the motif of joyful meeting in the child Jesus to the tune of farewell to Him, dropping the moments of worship to Him shepherds and the Magi known from the Gospels. Noteworthy and the childhood motif that is deliberately emphasized by the composer already in the name of his oratorio. In addition, H. Berlioz opens the first part of the trilogy with the characteristics of the cruel Jewish ruler, and thus violates the traditional sequence of the Christmas events. Not stopping at this, the composer expands the range of imagery related to Herod, until the creation of the image of the historical Jerusalem, against the background of which appears a Jewish king. The pictorial principle and such of assemblage, and the effect of the romantic poem’s and novel’s composition are noted in the whole musical building. In the genre of «L’Enfance du Christ» are revealed a slight influence of the French cantata and oratorio tradition and features of the 67

opera’s scene. The lack of continuity with the German oratorio tradition and Handel's kind of genre is highlighted. The Christmas theme acquires from H. Berlioz the historical (the Roman authority on Jewish lands), psychological (Herod's arguments about the burden of power, causing the association with Boris Godunov), autobiographical (retrospection in his personal and artistic life) implications. Although the economy of artistic means, the depth of these ideas is not diminished, but is achieved through the craftsmanship of H. Berlioz-dramatist. The composer finished the first part of the oratorio, «Le songe d'Hérode», and there he touched the figurative and semantic layers that go far beyond the lyrical interpretation of the genre and anticipate the later cultural processes. An attempt to create the psychological interpretation of the Herod’s image, an interest in disclosure of the inner word of the negative hero allows us to consider the experience of H. Berlioz in a row, the extreme points of which may be conditionally accepted G. G. Byron's «Cain» (1821) and the drama of O. Wilde's «Salome» (1891). Thus, the trilogy «L’Enfance du Christ» has a dual meaning in the work of Berlioz. On the one hand, there are clearly apparent the retrospective, «classical» tendencies, with the inclination to clear thinking and crystallization of the style. On the other hand, a number of features essays suggests insights into the future trends of the sensations of the post-romantic era. The paradoxical and elusive meanings of the «L’Enfance du Christ» leave a wide space for interpretation. However, it is obvious that the semantic content of the works questioned the stereotypes of atheism thought Berlioz, and the artistic value of the trilogy gives the opportunity to review the established interpretation of the late period of creativity of the composer. In addition, the concentration of artistic discoveries in the trilogy turned such that the composition has offered a new perspective of existence to the traditional for French oratorios spiritual themes and opened a new chapter in the history of the genre in France. L I T E R A T U R E 1. Берлиоз Г. Мемуары / Г. Берлиоз. – М.: Музыка, 1967. – 750 с. 2. Брюно А. Влияние Берлиоза на современную музыку / А. Брюно // Статьи и рецензии композиторов Франции. [Сост., перевод, вст. статья и коммент. А. Бушен]. – М., 1972. – С. 185–188. 3. Воронина М. «Мистерия» «Бегство в Египет» Г. Берлиоза: у истоков творческого замысла оратории «Детство Христа» / М. Воронина // Київське музикознавство. Збірка статей. – Київ, 2015. – Вип. 51. – С. 145-157.

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4. Вороніна М. О. Особливості пізнього стилю Г. Берліоза (ораторія «Дитинство Христа») / М. О. Вороніна // Часопис Національної музичної академії України імені П. І. Чайковського. – Київ, 2015. – №4 (29). – С. 39-47. 5. Дебюсси К. Берлиоз и г-н Гюнцбург / К. Дебюсси // Статьи, рецензии, беседы [Пер. с фр. и коммент. А. Бушен. Ред. и вст.ст. Ю. Кремлева]. – М.-Л.: Музыка, 1964. – С. 148–151. 6. Жирмунский В. М. Байрон и Пушкин. Пушкин и западные литературы / В. М. Жирмунский. – Л.: «Наука», 1978. – 424 с. 7. Калошина Г. Е. Христианская тематика и проблемы жанровой эволюции французской оперы и оратории: от истоков к ХХ веку / Г. Е. Калошина // Музыкальная культура христианского мира : мат-лы Междунар. науч. конф. – Ростов-на-Дону: РГК им. С. В. Рахманинова, 2001. – С. 297–316. 8. Мудрецкая Л. Г. Жанрово-стилевой поиск в оперном творчестве Жюля Массне (на примере опер «Манон» и «Вертер») / дисс. ... кандидата искусствоведения : 17.00.03 / Л. Г. Мудрецкая. – К., 2004. – 261 с. 9. Савицька Н. Хронос композиторської життєтворчості : монографія / Наталія Савицька. – Львів : Сполом, 2008. – 320 с. 10. Сен-Санс К. Гектор Берлиоз / К. Сен-Санс // Статьи и рецензии композиторов Франции [Сост., перевод, вст. статья и коммент. А. Бушен]. – М., 1972. – С. 32–43. 11. Хохловкина А. Берлиоз / А. Хохловкина. – М., 1960. – 548 с. 12. Barraud H. Hector Berlioz. Collection: Les Indispensables de la musique, Fayard / H. Barraud. – Paris, 1979. – 485 р. 13. Barzun J. Berlioz and His Century: An Introduction to the Age of Romanticism / J. Barzun. – University of Chicago Press, 1956, renewed 1982. – 450 p. 14. Bloom Peter. The Life of Berlioz / P. Bloom. – Cambridge University Press, 1998. – 213 p. 15. Cairns D. Berlioz : in 2 volumes / D. Cairns. – Vol. 2 : Servitude and Greatness, 1832– 1869 / D. Cairns. – University of California Press, 2000. – 900 p. 16. Smither H. E. A History of the Oratorio : in 4 volumes. – Vol. 4 : The oratorio in the nineteenth and twentieth centuries / H. E. Smither. – The University of North Carolina Press, 2000. – 856 р. 17. Tranchefort F.-R. Hector Berlioz / F.-R. Tranchefort // Guide de la musique sacreé et chorale profane. De 1750 à nos jours / [sous la direction de François- Rene Tranchefort]. – Fayard, 1993. – P. 68–78.

Воронина Мария. Жанрово-стилевые особенности «священной трилогии» Г. Берлиоза «Детство Христа». Жанрово-стилевые особенности сочинения рассмотрены в неразрывном единстве с принципами построения его драматургии. Отмечены монтажность, картинность и влияние принципов композиции романтической поэмы и романа на построение музыкального целого. В жанровом решении трилогии выявлены незначительное влияние французской кантатно-ораториальной традиции и черты оперной сцены. Подчеркнута яркая индивидуальность произведения, отсутствие преемственности с немецкой ораториальной 69

традицией и генделевской разновидностью жанра. Предпринята попытка переоценки места трилогии в творчестве Г. Берлиоза. Ключевые слова: Г. Берлиоз, оратория, трилогия, монтажность, ретроспекция, поздний стиль. Вороніна Марія. Жанрово-стильові особливості «священної трилогії» Г. Берліоза «Дитинство Христа». Жанрово-стильові особливості твору розглянуто в нерозривній єдності з принципами побудови його драматургії. Відмічено монтажність, картинність та вплив принципів композиції романтичної поеми та роману на побудову музичного цілого. В жанровому рішенні трилогії виявлено незначний вплив французької кантатно-ораторіальної традиції та риси оперної сцени. Підкреслено яскраву індивідуальність твору, відсутність спадковості з німецькою ораторіальною традицією та генделевським різновидом жанру. Здійснено спробу переоцінки місця трилогії в творчості Г. Берліоза. Ключові слова: Г. Берліоз, ораторія, трилогія, монтажність, ретроспекція, пізній стиль. Voronina Mariia. The features of the genre and style of the «trilogie sacrée» by H. Berlioz «L’Enfance du Christ». The features of the genre and style of this work are considered in the indissoluble unity with the principles of its dramatics. The pictorial principle and such of assemblage, and the effect of the romantic poem’s and novel’s composition are noted in the whole musical building. In the genre of «L’Enfance du Christ» are revealed a slight influence of the French cantata and oratorio tradition and features of the opera’s scene. The lack of continuity with the German oratorio tradition and Handel’s kind of genre is highlighted. An attempt to replace the trilogy through the works by H. Berlioz is realized. Key words: H. Berlioz, oratorio, trilogy, principle of assemblage, retrospection, late style. Viktoriia Nechepurenko THE CORRESPONDENCE OF GABRIEL FAURÉ AND THE PRINCESS DE POLIGNAC: PROJECTIONS OF A CREATIVE PARTNERSHIP

The paper reviews the correspondence between Gabriel Fauré, a late XIXth- and early ХХth-century French composer, and Winnaretta Singer, Princess de Polignac, the hostess of one of Paris’s most prestigious salons. There are two particularly interesting aspects of studying the letters between the composer and the Princess. 70

The first one, biographical, allows to learn relevant details about Gabriel Fauré’s life and relations with his contemporaries, thus clarifying composer’s character and personal qualities that are only outlined in the Ukrainian and Russian literature on the subject. The second aspect, contextual, ensures better understanding of composer’s work. It provides insights into the conditions in which Gabriel Fauré wrote his compositions, where and by whom they were performed (a kind of «compositions’ biography»). Moreover, it allows further understanding of how the process of composing evolved and what was the motivating force of the French maestro. The aim of the study of the correspondence between Gabriel Fauré and the Princesse de Polignac is to reveal specifics of the composer and Princess’s creative partnership and to explore stages of realization of their mutual artistic projects. The Prince and Princess de Polignac became a part of Paris’s history as lovers of the arts and active benefactors of the cultural life of the French capital during the fin de siècle period. Vincent d’Indy, Emmanuel Chabrier, Ernest Chausson, and Gabriel Fauré became habitués of their imposing mansion. It is there where many pieces of well-known composers were created or performed for the first time. Major works of Igor Stravinsky, Erik Satie, Francis Poulenc, Maurice Ravel, Gabriel Fauré, and others were commissioned by the Princess de Polignac. Gabriel Fauré was one of the composers whom Winnaretta Singer enthusiastically supported from her first steps in the salon life of Paris; their friendship and creative partnership lasted for many years. As their first mutual project, Fauré was commissioned to compose a piece to mark the opening of a music room (in the early 1890s). In her new salon, the hostess received musicians, painters, writers, poets, and many other representatives of the Parisian beau monde. Unfortunately, Fauré’s work was complicated by the worsening health of Paul Verlaine, who was engaged to write the poetic source. In his letters of this period Gabriel Fauré frequently complained to the princess that the poet neglected his work. Afterwards, two other poets, Maurice Bouchor and Albert Samain, continued the work on the text, but none of their variants were accepted by Fauré. As a consequence, the project remained unconcluded, which eventually resulted in a cooling of the once flawless relationship between the Princess and the composer. The song cycle Cinq mélodies «de Venise» became the second – this time successful – artistic result of their friendship. While working on the composition intended for the opening of the music hall (as Marcel Proust named it), in 1891 Fauré was invited by the Princess to visit her Palazzo Volkoff in Venice, where he went with his friends, the painters Ernest Duez and Roger Jourdain. 71

During his stay Fauré, inspired by Italian culture, created a cycle of small vocal pieces on texts by Paul Verlaine. It is significant that the composer turned specifically to the vocal genre, and not to any other. The choice, as it seems, was due to the place where the cycle was intended to be performed – a musical salon, and the addressee of the work – the Princess de Polignac. The fact that Fauré, while composing his vocal pieces, took into account the location of their performance, as well as their possible performers, is confirmed by his letters, where the composer, in addition to the scores of his pieces, shared his suggestions regarding the manner of performance of the cycle’s songs. His recommendations are not only important guidelines for an interpretation of the pieces, but also an essential source for clarifying the composer’s conceptions. Thus, the correspondence between Gabriel Fauré and the Princess de Polignac expands our perspective and gives a new understanding of Fauré’s compositional process. The composer’s letters provide insights into the details of his life – his travels and his relations with the contemporaries, i.e. biographical aspect – that influenced and were reflected in his works. His personal comments on the songs of the cycle «de Venise» clarify his conceptions and expand the general understanding of the compositions. Writing his Venetian mélodies, the composer took into consideration their possible performers and the place of the performance – a salon (this exemplifies the contextual aspect of the correspondence). It is important to note that it was at the time when Fauré began his work with Verlaine’s poetry that his newly conceived principles of working with poetic texts took shape in the cycle Cinq mélodies «de Venise». Afterwards, based on Verlaine’s verses, Fauré would create his brightest mélodies (Clair de lune, the cycle Bonne chanson, Prison).

L I T E R A T U R E

1. Жаркова В. Прогулки в музыкальном мире Мориса Равеля (в поисках смысла послания Мастера) : монография / В. Жаркова. – К.: Автограф, 2009. – 528 с. 2. Копица М. Епістологія в лабіринтах музичної історії: Монографія / М. Копица / До 100- річчя Національної музичної академії України. – К.: Автограф, 2008. – 528 с. : іл. 3. Корниенко Е. Национальная картина мира в камерно-вокальной музыки французских композиторов рубежа XIX–XX вв.: дисс. канд. искусствоведения : 17.00.02 / Е. Корниенко. – Саратов, 2011. – 173 с. 4. Нечепуренко В. Вокальное творчество Габриеля Форе: пути формирования жанра mélodie: дисс. канд. искусствоведения : спец. 17.00.03 «Музыкальное искусство» / В. Нечепуренко. – К., 2015. – 280 с. 5. Сигитов С. Габриель Форе: монография / С. Сигитов. – М.: Советский композитор, 1982. – 280 с. 72

6. Fauré Gabriel Correspondance suivie de lettres à Madame H. / [recueilles, présentées et annotées par Jean-Michel Nectoux]. – Paris: Fayard, 2015. – 911 p. 7. Jean-Aubry G. La musique française d’aujourd’hui / G. Jean-Aubry / [préface de M. Gabriel Fauré]. – Paris: Perrin, 1916. – 306 p. 8. Nectoux J.-M. Fauré / J.-M. Nectoux. – Paris: Seuil, 1972. – 187 p. 9. Nectoux J.-M. Gabriel Fauré. Les voix du clair-obscur / J.-M. Nectoux. – Paris: Flammarion, 1990. – 616 р. 10. Nectoux J.-M. Gabriel Fauré. Les voix du clair-obscur / J.-M. Nectoux. [2e édition revue]. – Paris: Fayard, 2008. – 844 p. 11. Saint-Saëns C. & Fauré G. Correspondance 1862–1920 / [réunie et présentée par J.- M. Nectoux]. – Paris: Société française de musicologie éditions Klincksieck, 1994 – 168 p.

Нечепуренко Виктория. Корреспонденция Габриэля Форе и принцессы Эдмон де Полиньяк: проекции творческого сотрудничества. В статье рассматривается переписка французского композитора конца XIX – начала XX вв. Габриэля Форе и владелицы одного из самых престижных салонов Парижа принцессы Эдмон де Полиньяк. Корреспонденция композитора и его мецената изучается в двух аспектах: биографическом и контекстном. Первый из них раскрывает детали жизни и общения композитора с современниками, что четче проявляют характер Форе и его личностные качества. Второй – влияет на понимание творчества композитора, дает представление о том, в каких условиях Форе писал свои произведения, где и кем они исполнялись. Ключевые слова: корреспонденция, Г. Форе, французский салон, принцесса Эдмон де Полиньяк. Нечепуренко Вікторія. Корреспонденція Габріеля Форе і принцеси Едмон де Полін’як: проекції творчої співпраці. У статті розглядається листування французького композитора кінця XIX – початку XX ст. Габріеля Форе і власниці одного з найпрестижніших салонів Парижа принцеси Едмон де Полиньяк. Кореспонденція композитора і його мецената вивчається в двох аспектах: біографічному і контекстному. Перший з них розкриває деталі життя і спілкування композитора з сучасниками, що дозволяє більш чітко виявити характер Форе і його особистісні якості. Другий – впливає на розуміння творчості композитора, дає уявлення про те, в яких умовах Форе писав свої твори, де і ким вони виконувалися. Ключові слова: кореспонденція, Г. Форе, французький салон, принцеса Едмон де Полиньяк.

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Nechepurenko Viktoriia. The correspondence of Gabriel Fauré and the Princess de Polignac: projections of a creative partnership. The article deals with the correspondence of the French composer of the late XIX – early XX centuries. Gabriel Fauré and the owner of one of the most prestigious salons of Paris Princess Edmond de Polignac. The correspondence of the composer and his patron is studied in two aspects: the biographical and contextual. The first one reveals details of life and communion with the composer's contemporaries that clearly show the nature of Fauré and his personal qualities. Second – affects the understanding of the composer, it gives an idea of the conditions in which Fauré wrote his works, where and by whom they were performed. Key words: correspondence, French salon, Gabriel Fauré, Princess de Polignac.

Li Qing «SONGS OF BILITIS» BY CLAUDE DEBUSSY ON TEXTS BY PIERRE LOUIS (HISTORY CREATIVE RELATIONSHIP OF THE COMPOSER AND POET)

This article analyzes the creative links of Claude Debussy with Pierre Louis, which determined the formation of the principles of unity of text and music in the vocal cycle «Songs of Bilitis». Pierre Louis (1870–1925) – a bright creative figure in the French culture of the late XIX – early XX centuries. Numerous letters of Debussy to Pierre Louis testify to his deep affection for the brilliant, ironic and independent writer; they reveal the features of the composer's personal life and the formation of his creative ideas. Two artistes met in the home of Stephen Mallarme summer of 1893. In July 1893 the relationship was based on a good liking, as evidenced by a valid dedication, written out by the composer at this time published in the instance of the cantata «Virgo-fiancee». However, in November 1893, Pierre Louis wrote in a letter to his brother, that within two months he constantly communicates with Debussy. In Debussy's even a thought about how to share with Luis to shoot a big house of 8 rooms. This idea has not been realized, but it testifies to the strong bonds of friendship that united the two like-minded artists. Letters to Pierre Louis Debussy show how the composer's ideas were close to his literary «the twin». In turn, Pierre Louis was tied to Debussy and thought highly of him as a composer. Quickly won the Parisian public and shocking as the original writer, Pierre Louis tried in every way to support each other, often rescued him, coming up with various financial projects. Such assistance was very important for the 74

composer, who had great financial difficulties during these years. Thus, arising from Debussy's interest in the new literary work of Pierre Louis – «Songs of Bilitis» – it is a natural result of the tender friendship between the two artists. In 1898 Debussy interested elegantly conceived hoax Pierre Louis, which he called «Songs of Bilitis». The whole book P. Louis combines a series of lyrical prose, revealing the history of the life of a young Bilitis. Lyrics Louis styled in the spirit of ancient Greek poetry, was published in Paris in 1894, in a sensual manner with an introduction by the author, mystify readers information about the real girl. Created by the imagination of the writer poet Bilitis naive shepherdess appears first, then the girlfriend of the famous ancient Greek poetess Sappho, and after – heterosexual. However, all the «facts» were invented, and the significant success of the book Louis, consisting of 143 poems in prose has been called a gentle tone of the sound filled with erotic motifs beautiful poetry. Debussy selects from the book of Pierre Louis three prose text – «Pan flute», «Hair», «Tomb of naiads». Work on the cycle coincides with the understanding of the need for radical changes to the composer of the musical language of the European professional culture and experimentation with new possibilities of organization of musical material. Three contrasting character miniature, at the same time, they constitute a single cycle and associations common musical characteristics. The first number of the cycle – «Pan flute» (La flûte de Pan) – refers to the most «musical» way of ancient times. Image of Pan – Greek god of pastoral and cattle-breeding, fertility and wildlife – in Greek mythology associated with the birth of the music contained in the pipe. Debussy had already touched this myth through the eclogite Mallarme and realized his musical performance of the cutoff of ancient culture in the symphonic prelude «Afternoon of a Faune». However, the composer's reference to «the ancient story» left unity. The image of a faune «comes to life» as a second notebook «gallant festivals» on poems by Paul Verlaine (miniatures «Faune», 1904), as well as pieces for flute solo «Syrinx» (Syrinx, 1913). The second miniature «Hair» and the third «The death of mollusks» is immersed in a shaky environment symbolist literature of the end of the XIX century. Used in the cycle «Songs of Bilitis» musical techniques very characteristic of Debussy's creativity 90s, held under the banner of «Pelléas et Mélisande». Thus, the reading of a literary text becomes a composer «neillyustrativnym». It aims to highlight the hidden Debussy deployment levels of meaning. The main features of composition dictated by the elusive implicit

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allusions and sensory associations that arise in the minds of Debussy reading texts Louis. The novelty of artistic tasks very accurately the composer says. Work on the creation of «Pelleas» Debussy changed the attitude to understand the principles of communication literature (prose) text and music. Silence «as a factor in the expression» demanded from the composer's special focus on every detail of the whole, and the slowness in the truest sense of the «gap» sound matter. Hence – the prevalence of silent and quietest dynamics in the first and third songs of the cycle, especially the role of dramaturgical pauses and moments of «extinction» sonority as a «transition» beyond what has been said, «entry» into the silence. The enormous creative potential of the composer, to read fiction Pierre Louis, does not exhaust the established cycle. It is significant that Debussy continues to refer to the texts of Pierre Louis and beyond. In the years 1900–1901 he created the music for a stage production of «Songs of Bilitis», which has the subtitle «Music to accompany the reading of twelve poems of Pierre Louis» for two flutes, two harps and celesta. Execution took place February 7, 1901 with great success, as the selected genre (recitation of texts with clear instrumental accompaniment) subtly convey to the audience especially the «antique styling» book by Pierre Louis. However, future theatrical productions followed, and Debussy used the musical material in a series of pieces for piano 4 hands «Antique epigraphs» (1914–1915). «Songs of Bilitis», relating to the period of creative maturity Debussy, represent one of the highest achievements of the composer in the field of vocal music. It is symptomatic that the latest Debussy accurately will assess their own artistic landmarks, claimed in his «ancient» writings of the mature period of creativity. L I T E R A T U R E 1. Владимирова А. Французская поэзия в вокальном творчестве Дебюсси / А. Владимирова // Дебюсси и музыка ХХ века: Сб. статей. – Л.: Музыка, 1983. – С. 173–192. 2. Дебюсси К. Избранные письма / К. Дебюсси. – Л.: Музыка, 1986. – 285 с. 3. Дебюсси К. Статьи, рецензии, беседы / К. Дебюсси. – М.-Л.: Музыка, 1964. – 278 с. 4. Егорова Б. Дебюсси и его окружение / Б. Егорова // Музыкальная академия. – 2002. – №4 – С. 152–157. 5. Кокорева Л. Клод Дебюсси: Исследование / Л. Кокорева. – М.: Музыка, 2010. – 496 с. 6. Луис Пьер. Песни Билитис / Пьер Луис. – СПб.: Вита Нова, 2010. – 280 с. 7. Луковская С. В. Вокальные миниатюры К. Дебюсси на слова П. Верлена в контексте камерно-вокального творчества композитора. – Рукопись. Диссертация на соискание научной степени кандидата искусствоведения по

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специальности 17. 00. 03. – Музыкальное искусство. – Национальная музыкальная академия Украины им. П.И.Чайковского / С. В. Луковская. – Киев, 2005. – 188 с. 8. Рамазанова В. Р. Музыка Дебюсси к инсценировке «Песен Билитис» Пьера Луиса: отражение композиторской концепции творчества [Электронный ресурс]. – Режим доступа : http://www.gnesin-academy.ru/sites/default/files/docs/Ramazanova.pdf (Дата обращение 10.05.2016) название с экрана. 9. Филенко Г. Вокальная лирика Клода Дебюсси в свете развития жанра / Г. Филенко // Дебюсси и музыка ХХ века: Сб.статей. – Л.: Музыка, 1983. – С. 193–247. 10. Яроциньский С. Дебюсси, импрессионизм и символизм / С. Яроциньский. – М.: Прогресс, 1978. – 224 с. 11. Barraqué J. Debussy / Jean Barraqué. – Paris: Seuil, 1994. – 250 p. 12. Histoire de la Musique Occidentale. Brigitte et Jean Massin. – Paris: Fayard, 1995. – 1312 p. 13. Lesure F. Claude Debussy / François Lesure. – Paris: Fayard, 2003. – 610 p. 14. Lockspeiser E. Debussy. Sa vie et sa pensée. Halbreich Harry. L’ahalyse de l’oeuvre / Edvard Lockspeiser. – Paris: Fayard, 1989. – 823 p.

Ли Цин. «Песни Билитис» Клода Дебюсси на тексты Пьера Луиса (история творческих отношений композитора и поэта). Статья посвящена анализу творческих связей Клода Дебюсси с Пьером Луисом, определивших формирование принципов единения текста и музыки в вокальном цикле «Песни Билитис». Письма Дебюсси к Пьеру Луису свидетельствуют о его глубочайшей привязанности к блестящему и ироничному писателю, раскрывают особенности формирования его творческих замыслов. В 1898 году Дебюсси увлекается изящно задуманной мистификацией Пьера Луиса «Песни Билитис». Аллюзии к древнегреческой культуре, пряный эротический аромат прозаических текстов П. Луиса получили тонкое отражение в вокальных миниатюрах цикла Дебюсси. Ключевые слова: Клод Дебюсси, Пьер Луис, вокальная миниатюра, «Песни Билитис», французская музыка рубежа XIX–ХХ веков. Лі Цін. «Пісні Білітіс» Клода Дебюссі на тексти П’єра Луіса (історія творчих відносин композитора і поета). Статтю присвячено аналізу творчих зв'язків Клода Дебюссі з П’єром Луісом, що визначили принципи єднання тексту і музики у вокальному циклі «Пісні Білітіс». Листи Дебюссі до П’єра Луіса свідчать про глибоку прив’язаність композитора до блискучого та іронічного письменника; розкривають особливості творчих задумів композитора. У 1898 році Дебюссі захоплюється вишуканою містифікацією П’єра Луіса «Пісні Білітіс». Тонкі аллюзії до старогрецької культури, пряний еротичний аромат прозаїчних текстів П. Луіса отримали відображення у вокальних мініатюрах циклу.

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Ключові слова: Клод Дебюссі, П’єр Луіс, вокальна мініатюра, «Пісні Білітіс», французька музика межі ХІХ–ХХ ст. Li Qing. «Songs of Bilitis» by Claude Debussy on texts by Pierre Louis (history creative relationship of the composer and poet). This article analyzes the creative links of Pierre Louis with Claude Debussy, which determined the formation of the principles of unity of text and music in the vocal cycle «Songs of Bilitis». Letters of Debussy to Pierre Louis testify to his deep affection for the brilliant and ironic writer and reveal peculiarities of his creative ideas. In 1898 Debussy interested elegantly conceived hoax Pierre Louis «Songs of Bilitis». Allusions to ancient Greek culture, spicy aroma of erotic prose texts of P. Louis received a subtle reflection in the vocal miniatures of Debussy. Key words: Claude Debussy, Pierre Louis, vocal miniature, «Songs of Bilitis», French music of the XIX–XX centuries.

Daria Mendelenko THE LAST SONATAS BY FRANCIS POULENC: WORK OF THE COMPOSER AS A PERFECT «MUSICAL COMPOSITION»

The author of the article analyzes the genre features and specificity of thematic development in the last opuses by Francis Poulenc – Sonata for Clarinet and Sonata for Oboe and Piano (1962). Selected works are considered in the context of the creative heritage of the composer as a large-scale «musical composition» consciously constructed by the author. The last opuses in the work of composers are often surrounded by a halo of mystery, the history of their creation becomes overgrown with legends, and the ideas embodied in the «swan song» acquire the weight of the author's death message. Two sonatas by F. Poulenc – Sonata for clarinet and piano, Sonata for oboe and piano (1962), created a few months before the death of the composer, still leave a lot of mysteries for the researcher, and the richness of the subtexts hidden in them opens the possibility for an almost unlimited number of interpretations. The composer's statements indicate that the considered sonatas were originally conceived by the composer as the last. Putting an end to the manuscript of the Sonata for Oboe a few months before his death, Poulenc did not write anything more – after his death, no single shred of evidence or a sketch of a new artistic concept was found. The originality of the considered works is, first of all, in the nature of the thematic development, the basis of which is the citation – almost all themes are 78

based on borrowed material (including several that do not repeat «literally» any theme, but use the language parameters of «foreign» styles, that is, they represent stylistic borrowing). It can be argued that in the music of Poulenc operates a principle cognate to the «involuntary memory» of the classic of French literature of the twentieth century M. Proust, which was described in an early essay of the writer «Against Sainte-Beuve», and later received a vivid embodiment in his magnum opus «In Search of Lost Time». The embodiment of the principle of involuntary memory in Proust's novel serves cookies «madeleine» – the taste of «madeleine» soaked in linden broth returns the hero during his childhood and restores in his memory a whole world of images, events and sensations of the past. The analogue of the Proustian «madeleine» for F. Poulenc is the sound phenomenons of the past, which continue to exist in parallel with the present and can arise through associations in all their integrity and richness of shades. The principle of «involuntary memory» in the composer's works could explain the specifics of thematic development in these sonatas, including the appearance of the theme of Stravinsky in «Prokofiev» Sonata for Oboe – Stravinsky's music for Poulenc is as much a significant part of the musical past as the music of S. Prokofiev. To some extent this connection between creativity and musical memory explains the peculiarities of the composer's work with borrowed material: using themes from his own previously written works, even with minor rhythmic or intonational changes, the composer practically does not violate the figurative content of the chosen theme. The composer uses the «alien» thematic material only as an impetus for the work of his own imagination – the theme, heard in the past becomes a part of his own life experience and acquires an emotional coloring of his personal memory. F. Poulenc's musical work, which gives the impression of a continuous stream of random memories, associations and, at first glance, devoid of compositional logic, in our opinion, is actually the result of careful compositional work. Thus, having examined the list of borrowings in detail, it is possible to reveal certain regularities in the selection of the quoted material: referring to the music written before, the composer chooses his very first opuses, as well as works of great importance for his work (it is significant that most of the quotations come from sacred works of the composer). Two themes borrowed from the music of other composers are also significant, they point to the important components of his thinking: respect for his «musical fathers» and 79

tradition in general (the theme of I. Stravinsky) and the influence of popular music on the Poulenc's work («Je cherche après Titine»). The peculiarities of the stylistics of his latest opuses let assume that the composer consciously built his own creative path according to the laws of musical composition, guided by the same principles of organization as in his separate works (concentricity, reiteration, completeness). Just as in the musical material of the finals of sonata cycles, the composer often included the themes of the previous parts, thus creating a «reprise» of the whole work, in the last opuses he collects the themes of his earliest works, as well as works that are significant for the composer. It was no coincidence that in creating the «Sept Répons des Ténèbres» in 1962, Poulenc used the musical material of his Litanies (1936), and again turned to the text of one of the Motets pour un temps de pénitence (1936), thus paving the «arch» for early sacred works. The first in a chronological catalog of the composer opuses (relating to 1918) are somehow represented in his Sonata for clarinet: Rapsodie Nègre, Sonata for Piano Four Hands – in the form of thematic allusions, Sonata for two clarinets – through special treatment of the genre and timbre, «Mouvements perpétuels» – by the characteristic principle of development. This attitude of the composer explains many features of the latest sonatas. Here lies one of the reasons for using the thematic material of the early opuses: the last work, like the finale of a musical drama, was intended to sum up, put together and emphasize the most significant moments of the composer's creative path. This also explains the reference to the sonata – the genre of «pure» music, which would allow collecting in one work contrasting elements and overcoming their contradiction. In addition, turning to the sonata, Poulenc closes his creative path with the genre from which he started (after all, his first compositional successes were associated with the sonatas). L I T E R A T U R E 1. Багрова Е. Соната Ф. Пуленка для кларнета и фортепиано. Опыт семантического анализа / Е. Багрова // Вестник РАМ им. Гнесиных. – 2011. – № 2. [Электронный ресурс]. – Режим доступа : http://gnesin- academy.ru/vestnikram/issue.php?Year=2011&Number=2 – 20.09.2015 г. (Дата обращения 10.05.2016) название с экрана. 2. Бакун М. И. Трактовка жанров духовной музыки в творчестве Франсиса Пуленка [Текст] : автореф. дис. ... канд.искусствоведения : 17.00.02 / М. И. Бакун; Санкт- Петерб. гос. консерватория (акад.) им. Н. А. Римского-Корсакова. – СПб., 2013. – 22 с. 3. Галочкина И. В. Сонаты Пуленка для духовых инструментов и фортепиано в классе камерного ансамбля: методические рекомендации / И. В. Галочкина: под ред.

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Н. И. Копысовой. – Минск: Белорусская Государственная консерватория им. А. В. Луначарского, 1989. – 29 с. 4. Жукова О. А. Фортепіанна творчість Франсіса Пуленка в контексті французьких клавірних традицій [Текст] : дис. ... канд. мистецтвознав. : 17.00.03 / Жукова Олена Августівна ; Нац. муз. акад. України ім. П. І. Чайковського. – К., 2009. – 218 арк. 5. Латышева Н. Л. Ф. Пуленк. Камерные ансамбли с участием духовых инструментов. Опыт исполнительского анализа / Н. Л. Латышева // Международный Научный Институт «Educatio». – 2015. - №3 (10). – С. 150–154. 6. Михайлова О. В. Поэтика камерно-вокальной лирики Франсиса Пуленка [Текст] : дис. ... канд. искусствоведения : 17.00.03 / Михайлова Ольга Валерьевна ; Харьк. гос. ун-т искусств им. И. П. Котляревского. – Х., 2009. – 257 л. 7. Полікарпова Н. В. Специфіка вокально-сценічної інтерпретації моноопери XX століття (на матеріалі «Голосу людського» Ф. Пуленка та «Листів кохання» В. Губаренка) [Текст] : автореф. дис. ... канд. мистецтвознав. : 17.00.03 / Полікарпова Наталія Василівна ; Харк. нац. ун-т мистец. ім. І. П. Котляревського. – Х., 2012. – 20 с. 8. Пруст М. Против Сент-Бёва: Статьи и эссе / Пер. с франц. Т. В. Чугуновой; Вступ. ст. А. Д. Михайлова; Коммент. О. В. Смолицкой, Т. В. Чугуновой. – М.: ЧеРо, 1999. – 224 с.: ил. 9. Пуленк Ф. Я и мои друзья / Ф. Пуленк. – Л.: Музыка, 1977. – 158 с. 10. Савицька Н. В. Хронос композиторської життєтворчості : монографія / Наталія Савицька; Львівська нац. муз.академія ім. М В. Лисенка. – Львів: Сполом, 2008. – 320 с. 11. Холопова В. Стравинский в тексте музыки эпохи / В. Холопова // Музыкальная академия. – 1992. – № 4. – С. 178–182. 12. Ferraty F. Francis Poulenc à son piano : un clavier bien fantasmé / F. Ferraty. – Paris: L’Harmattan, 2011. – 377 p. 13. Gouverné Y. Francis Poulenc / Y. Gouverné // Documents de la conférence donnée à Rocamadour, 8 juillet 1973 [Электронный ресурс]. – Режим доступу : http://www.poulenc.fr/userfiles/downloads/poulenc_yvonne_gouverne.pdf– (Дата обращения 05.06.2016 р.) название с экрана. 14. Hell H. Francis Poulenc, musicien franсais / H. Hell. – Paris: Fayard, 1978. – 391 p. 15. Lacombe H. Francis Poulenc / H. Lacombe. – Paris: Fayard, 2013. – 1104 p.

Менделенко Дар’я. Останні сонати Франсіса Пуленка: творчий шлях композитора як досконала «музична композиція». Автором статті проаналізовано жанрові особливості та специфіку тематичного розвитку в останніх опусах Франсіса Пуленка – Сонаті для кларнета та Сонаті для гобоя і фортепіано (1962). Обрані твори розглянуто в контексті всього творчого доробку композитора як свідомо вибудованої автором масштабної «музичної композиції». Висвітлено ведучі принципи організації цілого у творах Ф. Пуленка (що стосуються як окремо взятих опусів, так і його творчості в цілому): концентричність, репризність, замкненість.

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Ключові слова: Франсіс Пуленк, камерно-інструментальна музика, соната, музична композиція, принципи організації цілого. Менделенко Дарья. Последние сонаты Франсиса Пуленка: творческий путь композитора как совершенная «музыкальная композиция». Автором статьи проанализированы жанровые особенности и специфика тематического развития в последних опусах Франсиса Пуленка – Сонате для кларнета и Сонате для гобоя и фортепиано (1962). Избранные произведения рассмотрены в контексте всего творческого наследия композитора как сознательно выстроенной автором масштабной «музыкальной композиции». Освещены ведущие принципы организации целого в произведениях Ф. Пуленка (которые касаются как отдельно взятых опусов, так и его творчества в целом): концентричность, репризность, замкнутость. Ключевые слова: Франсис Пуленк, камерно-инструментальная музыка, соната, музыкальная композиция, принципы организации целого. Mendelenko Daria. The last sonatas by Francis Poulenc: work of the composer as a perfect «musical composition». The author of the article analyzes the genre features and specificity of thematic development in the last opuses by Francis Poulenc – Sonata for Clarinet and Sonata for Oboe and Piano (1962). Selected works are considered in the context of the creative heritage of the composer as a large-scale «musical composition» consciously constructed by the author. The researcher distinguishes the main principles of the organization of the whole in the works of Poulenc (which concern both taken separately opuses and his work in general): concentricity, reiteration, completeness. Key words: Francis Poulenc, chamber music, sonata, musical composition, principles of organization of the whole.

Julia Zhuravkova THE LEGACY OF GIAN CARLO MENOTTI: MULTI-VECTOR NATURE OF GENRE APPROACH

The legacy of Gian Carlo Menotti, an American composer of the Italian origin, is little known on the premises of our country. Whereas he belonged to those composers whose works were most frequently performed and cited in the ХХ th century. The combination of American and European practices in the works of this composer that induced the development of his distinctive style. What is meant here is the similarity of Menotti’s music

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writing to that of jazz and musical intonations and at the same time his inclination to the melodics of Italian romanticism. Menotti is a pioneer of the national American opera. By virtue of his works, American audience became interested in the opera genre. Among more than two dozen operas, there are some works that have been acknowledged by the top music and theater awards in the world. For instance, «The Consul» (1950) was marked by the Pulitzer Prize and Drama critics award, its film version «The Medium» (1946) was awarded at the Cannes Film Festival (1952), «The Saint of Bleecker Street» (1954) – Pulitzer Prize, Drama critics award, Music critics award, Kennedy Center Honors (1984). Menotti was nominated as a Musician of the year in 1991. All the points mentioned above define the thematic justification of the Italian-American composer’s legacy study. It is only partially mentioned in the Ukrainian musicological literature [6; 8]. However, the process of establishment of the American music theatre in the XX century, which has become an object of interest to the European music scholars, is inextricably connected with the works of one of the most renowned opera composers G. Menotti. Hence, the purpose of the article is to define the main genre spheres of G. Menotti’s works and define his genre priorities. When talking about genre classification of Menotti’s legacy, the author of the article puts emphasis on the reflections about the choice of analysis criteria. One of the most frequently used approaches to legacy systematization is differentiation of works according to the cast list. Having defined the correlation of genre groups in terms of the whole artistic variety, such approach makes it possible to get an idea of the level of composer’s inclination to creating opuses of various orientations: theatrical, instrumental or vocal music. The diagram, created by the author of the article basing on the data provided by the publishing houses Casa Ricordi, G. Schirmer Inc., The Pytheas Center for Contemporary Music, internet-resource Allmusic.com, and USA Library of Congress web-site [17], clearly illustrates the specific weight of works of each genre in the Menotti’s legacy. The author pays attention to the fact that the works with voice as the premier instrument (these are vocal, choral and opera) equal to 61% of all the composer’s works Menotti’s priority towards vocal genres and his extraordinarily fine sense of human voice nature is supported by the citations of M. Hoffmann and P. Domingo. At the same time, the most numerous (41% of all the works) and significant in the artistic environment

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is a segment of synthetic works created by Menotti for thestage, such as ballet, opera, and works of mixed genres. Prior to examining opera legacy, which makes up a key part of the composer’s work, the author of the article emphasizes the dominant examples of other drama groups to demonstrate the particular genre vectors. The article includes a quick overview of the most known ballets of the composer «Errand Into the Maze» (1947), which is a result of the cooperation of three renowned artists (Menotti, Graham, and Noguchi), and is considered by critics to be one of the most conspicuous contemporary ballets. The other work – «The Unicorn, The Gorgon and the Manticore, or Three Sundays of a Poet» (1956), belongs to those that stay outside the variety of Menotti’s drama genres, taking into account that they do not belong to any category according to the opus analysis criteria. However, contrasting Menotti’s artistic diversity, the author emphasizes that thanks to the prevailing segment of opera works, its irreproachable artistic merit (proved by the vast popularity and top awards), its influence on the formation and establishment of the national American opera and the development of contemporary opera in general, the composer is considered to be the opera composer at the first place, and he belongs to the cohort of distinguished composers of the XX century. According to the author of the article, investigating the genre belonging of drama works in the traditional framework, one should consider the type of resolution of the main conflict as a benchmark. While two classification systems (according to the cast list and the work’s purpose) are interrelated, and, moreover, they do not imply neither gaining an insight of the work nor the analysis of main idea of the author's intention, which means they are both of the applicative nature, it is the content classification that ensures the embracing of the whole of stage opuses genre variety. Concluding from the mentioned above, the author figuratively defines two groups in Menotti’s opera legacy: drama and comedy. Moreover, in terms of drama, there is a separate subgroup – tragedies – differentiated according to the presence of tragic origin. The article puts a great emphasis on the opera «Help, Help, the Globolinks!» (1968). This opera serves as an example of a work that absorbed the characteristics of different genres. Most importantly, the opera features Menotti’s artistic motto: through the system of images and phantasmagoric plot he materialized his idea of a confrontation between conventional and avant-garde art. With his final bars, Menotti pronounced the idea of the opera through the words of music teacher Madame Evterpova. One can consider such address as a 84

disguised composer’s response to the numerous accusations of critics concerning the conventionalism, sentimentalism and excessive melodics of his music. Thus, Gian Carlo Menotti’s legacy is represented in a vast variety of genre approaches, and it is enriched by works that have permanent worth, popularity and that are much sought after in the artistic life. Besides operas, the artist also worked successfully with other genres, having passed for the future generations a dozen of chamber – vocal and instrumental – cycles and other conspicuous works, some of which, thanks to their distinctive music speech and rich drama are appealing in terms of their stage performance, especially those that according to the genre belonging are intended for stage, namely ballets and operas. L I T E R A T U R E 1. Гордеева А. Судьба, взятая за рога / А. Гордеева // Московские новости, 27/06/2011 [Електронний ресурс]. – Режим доступу : mn.ru/newspaper/culture/70743 (Дата звернення 20.02.2016) назва з екрану. 2. Генри У. Саймон. Сто великих опер и их сюжеты / С. У. Генри / [Пер. с англ. А. Майкапара]. – М.: Крон-пресс, 1999. – 864 c. 3. Доминго П. Мои первые сорок лет / П. Доминго / [Пер. с англ.; Предисловие А. Парина (My First Forty Years/ Penguin Books 1984)]. – М.: Радуга, 1989. – 304 с. 4. Ивашкин А. Чарльз Айвз и музыка ХХ века / А. Ивашкин // Зарубежная музыка. Мастера ХХ века. – М.: Сов.композитор, 1991. – 455 с. 5. Менотти Д. К. Я не верю в авангардизм / Дж. Менотти. – Музыкальная жизнь, 1964. – № 4. – С. 16. 6. Перейма О. Італійська опера ХХ століття: основні тенденції і напрямки розвитку : дис. … канд. мистецтвознавства : спец. 17.00.03 «Музичне мистецтво» / О. Перейма; Львівська держ. музична академія ім. М. В. Лисенка. – Львів, 2007. – 280 с. 7. Ханина Л. Оперный театр Джан Карло Менотти / Л. Ханина. – М.: Композитор, 2011. – 244 с. 8. Черкашина-Губаренко М. Опера XX століття: Нариси / М. Черкашина-Губаренко. – Київ, 1981. – 208 с. 9. BBC [Електронний ресурс]. – Режим доступу : bbc.com/russian/society/2013/07/130710_domingo_hospital.shtml (Дата звернення 21.02.2016) назва з екрану. 10. Burke R. Menotti's Triplo Concerto à Tre / R. Burke. – Fanfare Magazine, 01.01.2001 [Електронний ресурс]. – Режим доступу : musicsalesclassical.com/composer/work/30745 (Дата звернення 20.02.2016) назва з екрану. 11. Butterworth N. Dictionary of American Classical Composers. Second edition / N. Butterworth. – New York and London: Routledge, 2005. – 547 p. 12. Encyclopædia Britannica. Gian Carlo Menotti [Електронний ресурс]. – Режим доступу : britannica.com/biography/Gian-Carlo-Menotti (Дата звернення 20.02.2016) назва з екрану.

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13. Edwards B. Gian Carlo Menotti / B. Edwards [Електронний ресурс]. – Режим доступу : findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=17832710 (Дата звернення 20.02.2016) назва з екрану. 14. Feeney A. Gian Carlo Menotti: Help, Help, the Globolinks! [Електронний ресурс]. – Режим доступу : allmusic.com/composition/help-help-the-globolinks!-childrens-opera- mc0002486093 (Дата звернення 20.02.2016) назва з екрану. 15. Henahan Donal. The Problems of 'Goya' And The Problem of Menotti / D. Henahan. – New York Times. – 30.11.1986. 16. Huizenga T. Making A Case For Menotti [Електронний ресурс]. – Режим доступу : npr.org/sections/deceptivecadence/2011/07/07/137649623/making-a-case-for- menotti (Дата звернення 21.02.2016) назва з екрану. 17. Library of Congress. Gian Carlo Menotti [Електронний ресурс]. – Режим доступу : loc.gov/search/?q=menotti&sp=1 (Дата звернення 20.02.2016) назва з екрану. 18. Opera base [Електронний ресурс]. – Режим доступу : operabase.com (Дата звернення 20.02.2016) назва з екрану. 19. Parkin S. Menotti Gian Carlo [Електронний ресурс]. – Режим доступу : biography.yourdictionary.com/gian-carlo-menotti (Дата звернення 22.02.2016) назва з екрану. 20. Patter R. Composer of two worlds / R. Patter // Opera/The world’s leading opera magazin. – December 2011. – P. 24. 21. Terry W. Errand into the Maze / T. Walter. – The New York Herald Tribune. – 9.03.1947 [Електронний ресурс]. – Режим доступу : loc.gov/item/ihas.200182843 (Дата звернення 20.02.2016) назва з екрану.

Журавкова Юлія. Творча спадщина Дж. Менотті: багатовекторність жанрових рішень. Стаття присвячена окресленню основних жанрових сфер творчості італійсько-американського композитора Джан Карло Менотті та визначенню його жанрових пріоритетів. Матеріалами дослідження є власне творча спадщина композитора, статистичні дані, публікації в зарубіжних виданнях, присвячені творчості Менотті. Ключові слова: Джан Карло Менотті, жанрові сфери, пріоритетні жанри, синтетичні жанри, театр, опера, балет. Журавкова Юлия. Творческое наследие Дж. Менотти: многовекторность жанровых решений. Статья посвящена обрисовке основных жанровых сфер творчества итало-американского композитора Джан Карло Менотти и определению его жанровых приоритетов. Материалами исследования является собственно творческое наследие композитора, статистические данные, публикации в зарубежных изданиях, посвященные творчеству Менотти.

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Ключевые слова: Джан Карло Менотти, жанровые сферы, приоритетные жанры, синтетические жанры, театр, опера, балет. Zhuravkova Julia. The legacy of Gian Carlo Menotti: multi-vector nature of genre approach. The article specifies the main genre spheres of works by Italian-American composer Gian Carlo Menotti and defines his genre priorities. Data for study comprises the composer’s legacy, statistics, features published in the foreign periodicals dedicated to the works of Menotti. Key words: Gian Carlo Menotti, genre spheres, high-priority genres, synthetic genres, drama, opera, ballet.

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CONTENTS

І. THEORETICAL PROBLEMS OF STUDY OF ART IN THE MIRROR OF CULTUROLOGY

Ignatenko Yevgeniya. Ukrainian Early Music at the Festival and Congress Musica Antiqua Europae Orientalis in Poland...... 3 Babushka Larysa. From holidays to festivation: cultural trauma in discourse?...... 6 Lysenko Lubov. Concept Ordnung as a dominant in the identity of Germans...... 9 Herasymenko Lesia. The rhythmic-intonation aspect of Shevchenko's poetry as a factor of a text-musical form of «The psalm of David» by M. Lysenko...... 11 Snitko Yaroslava. The Poles of Steadiness and Changeableness in Benjamin Britten’s Phantasy op. 2 for Oboe, Violin, Viola and Cello.....14 Shevchenko Tatyana. Piano Sonatas of Nikolai Medtner: genre-compositional characteristics and problems of interpretation...... 18 Shurdak Mariya. The evolution of cooperation forming composition and technology (for example, chamber-instrumental music of Gyorgy Ligeti)...... 22 Manokina Hanna. The role of the timbre in the chamber cantata of Elena Firsova «Earthly life», poems by Osip Mandelstam...... 25 Subbotin Ivan. Рolystylism in the music of Saratov`s composers traditions...... 29 Gritsyuk Olesya. Genre experiments in chamber vocal music of the first third of the XX century...... 33 Marchenko Maria. Question of accurate realization of the verbal text of Ukrainian baroque compositions (XVII – the first half of the XVIII century)...... 37

ІІ. PROBLEMS OF MUSICAL EDUCATION AND THE MODERN SOCIAL CONTEXT

Kasianova Helen. Specificity solve dance scenes in the director's interpretations of operas today...... 42 Billot Valeriya. «The Paladines» by J.-P. Rameau on the opera and ballet stage...... 45 Zinchenko Veronika. «The dream of Rosa» ballet by A. Rodin: innovation or secondariness?...... 49

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Pavko Anatolii, Kurylo Ludmila. Psycho-pedagogical dominants of teacher of socio-humanitarian disciplines...... 52 Gryschenko Anton. Carl Czerny and his edition of «The Well-Tempered Clavier» – the first comprehensive performing-pedagogical reading of the collection...... 55

III. WORLD AND NATIVE MUSIC CULTURE: STYLES, SCHOOLS, PERSONALIAS

Zharkova Valeriya. «History of Music» in five «approximations», or several methodological remarks in an era of high IP-based technologies...... 59 Pavlenko Andrii. Characteristic of Francois-Joseph Gossec’s Symphonies op. 4 construction...... 63 Voronina Mariia. The features of the genre and style of the «trilogie sacrée» by H. Berlioz «L’Enfance du Christ»...... 66 Nechepurenko Viktoriia. The correspondence of Gabriel Fauré and the Princess de Polignac: projections of a creative partnership...... 70 Li Qing. «Songs of Bilitis» by Claude Debussy on texts by Pierre Louis (history creative relationship of the composer and poet)...... 74 Mendelenko Daria. The last sonatas by Francis Poulenc: work of the composer as a perfect «musical composition»...... 78 Zhuravkova Julia. The legacy of Gian Carlo Menotti: multi-vector nature of genre approach...... 82

CONTENTS...... 88 INFORMATION ABOUT THE AUTHORS...... 90 REQUIREMENTS FOR ARTICLES...... 92

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INFORMATION ABOUT THE AUTHORS

Babushka Larysa – PhD in philosophy, associate professor, doctorate in the department of theory and history of culture, Tchaikovsky National Music Academy of Ukraine. Billot Valeriya – post-graduate student of the Lesya Ukrainka Eastern European National University Gritsyuk Olesya – leading concertmaster of the musical education department of the I.K.Karpenko-Kari theater, cinema and television. Gryschenko Anton – post-graduate student, Theory and history of culture chair, Tchaikovsky National Music Academy of Ukraine. Herasymenko Lesia – student of the Kharkiv National Kotlyarevsky University of Arts. Ignatenko Yevgeniya – PhD in Arts, associate professor of the department of music theory of the Tchaikovsky National Music Academy of Ukraine Kasianova Helen – PhD in Arts, Honored Artist of Ukraine, professor of the Opera preparation and musical direction chair, Tchaikovsky National Music Academy of Ukraine. Kurylo Ludmila – PhD in pedagogical sciences, associate professor of the department of the Humanitarian and socio-economic disciplines chair, R. Glier Kyiv Institute of Music. Li Qing – post-graduate student of the History of world music chair, Tchaikovsky National Music Academy of Ukraine. Lysenko Lubov – senior lecturer of the Tchaikovsky National Music Academy of Ukraine. Manokina Anna – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Marchenko Maria – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Mendelenko Daria – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Nechepurenko Viktoriia – PhD in Arts, lecturer of the History of music chair, R. Glier Kyiv Institute of Music. Pavko Anatoliy – doctor of Science of History, professor of the Humanitarian and socio-economic disciplines chair, R. Glier Kyiv Institute of Music. Pavlenko Andrii – post-graduate student of the Tchaikovsky National Music Academy of Ukraine.

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Shevchenko Tatyana – assistant trainee of the Odessa national A. V. Nezhdanova academy of music. Shurdak Mariya – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Snitko Yaroslava – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Subbotin Ivan – searching for the Department of Music and Composition Theory at Saratov State Conservatory of L. V. Sobinov. Voronina Mariia – post-graduate student of the History of world music chair, Tchaikovsky National Music Academy of Ukraine. Zharkova Valeriya – doctor in Arts, Professor, Head of the Department of World Music History of the Tchaikovsky National Music Academy of Ukraine. Zhuravkova Julia – post-graduate student of the Tchaikovsky National Music Academy of Ukraine. Zinchenko Veronika – student of the Tchaikovsky National Music Academy of Ukraine.

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REQUIREMENTS FOR ARTICLES

The articles are to be published in Ukrainian and Russian. Only unpublished articles are accepted to be printed in this journal. The article’s structure must comply with the Ministry of Education and Science of Ukraine’s requirements: «<...> Definition of the issue and its relationship with scientific and practical tasks; analysis of recent research and publications which offer solutions to the issue, upon which the author relies, the allocation of previously unsolved aspects of the issue; statement of the purpose of the article (its task); summary of the main research and explanation of scientific results; findings of the proposed research and the prospects for further research in the specified direction». Бюлетень ВАК України (The newsletter of the HAC of Ukraine). – 2003. – No1. Each name in the article must be written with corresponding initials (first name or name and patronymic). Printed music examples (typed out in the sheet music editor and numbered) and illustrations should be submitted as separate files in TIFF or EPG format. Each illustration (table, music sample, drawing, diagram) should be named accordingly. All research and literature sources used must be listed in their original language, without translation. List of sources must be issued in accordance with GOST 8302:2015 «Information and documentation. Bibliographic reference. General principles and rules of composition». As for references: author and title of cited books are listed in the footnotes with the name and the initials of the author(s), its full name, place of publication, publisher, year of publication, page number for the citations. In reference to the article from a compilation of scientific papers, a dictionary or an encyclopedia should specify the name and initials of the author, the title of the article used only by providing a description of the compilation (reference books, encyclopedias) in which it is published, with all the original data, and page number from which the quotation is taken. If correspondence is cited, the reference should contain only the letter with the name of the sender and the recipient and the time of writing, noting also the collection (in which the letter was published) with all the original data. References to multi-volume editions must specify not only the volume cited, but the total number of volumes. The description of theses or dissertations must contain the full name of the author, as well as the code number and the specialty of the author and institution in which the work was presented. The list of literary sources must contain only the cited and referred to works. In describing monographs (dissertations) the total number of pages must be indicated, and in descriptions of articles or letters only the pages (from first to last) of the used article or letter. Each article must have an added annotation and

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a list of keywords (3–7) in Ukrainian, Russian and English. The volume of each annotation, including the name and the initials of the author and the title of the article (no keywords) must be 400 – 700 characters (with spaces). The annotation should not start with the words “In the article...” “The article is devoted to...” “The author explores...”, but the following verbal forms: “Considered...”, “Analysed...”, “Found...” and so on. Under the new requirements of the Ministry of Education and Science of Ukraine the electronic version of the journal (for the R. Glier Kyiv institute of music website) must have two more annotations in Ukrainian (Russian) and English, three pages each (5000 – 6000 characters with spaces). The article (excluding the list of references and annotations) must be of 20 000 – 40 000 characters with spaces, 10–20 standard pages. There must be information about the author: last name, first name, occupation, title, employer, position. The author must also specify their telephone number and e-mail address.

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TCHAIKOVSKY NATIONAL MUSIC ACADEMY OF UKRAINE

R.GLIER KYIV INSTITUTE OF MUSIC

Scientific edition

MUSICOLOGY OF KYIV Culturology and art studу

Collected articles

Issue number 53

The edition’s website: www.glierinstitute.org/ukr/digests

Compilers: Y.A. Zilberman, L.H. Mudretska Editors – V.Y. Nechepurenko Desktop Publishing – V.Y. Nechepurenko

Edition of R. Glier Kyiv Institute of Music Certificate № 15130-3702 Р Kyiv, Lva Tolstogo str., 31

Put to print 31.08.2016. Signed for printing 31.08.2016. Format 84х108/32. Offset paper. Typeface «Times». Offset printing. Pages to be conditionally printed 6. Page Size 12. 100 copies. Printed by: Publishing center «Nash format» Oder 273