Фортепіанний концерт Леоніда Затуловського в аспекті національного розвитку жанру

Abstract

У статті розглянуто творчість одного з сучасних композиторів Буковини – Леоніда Затуловського, зокрема його фортепіанна музика. Уперше проаналізовано фортепіанний концерт композитора в процесі історичного розвитку жанру. Розкрито особливості драматургії, образного змісту, структури, музичної мови твору. Здійснено висновки стосовно творчого стилю композитора та місця жанру в його творчості.

В статье рассмотрено творчество одного из современных композиторов Буковины – Леонида Затуловского, в частности его фортепианная музыка. Впервые проанализирован фортепианный концерт композитора в процессе исторического развития жанра. Раскрыты особенности драматургии, образного содержания, структуры, музыкального языка произведения. Осуществлены выводы относительно творческого стиля композитора и места жанра в его творчестве.

The article deals with the work of one of modern composers of Bukovyna – Leonid Zatulovskyi, in particular his music for piano. His creative works include pieces for various performers. They impress with originality of the musical style, where the traditions of European and Ukrainian art are intertwined with the peculiarities of Bukovynian folklore. The research provides a musicological analysis of the concert for piano in the context of the development of the genre in Ukrainian music. There were made the conclusions regarding the style of the composer and the role of the genre in his work. There have been applied the methods of historical and cultural, theoretical and genre-style analysis, which allow to reveal the peculiarities of the style of one of contemporary Bukovynian composers – Leonid Zatulovskyi. The purpose of the paper is to analyze and characterize one of the genres of works for piano written by Leonid Zatulovskyi – a concert for piano; to define the role of the work in the process of national development of the genre. One of the most important roles in the creative work of L. Zatulovskyi belongs to his music for piano, in particular 3 concerts for piano and orchestra, 4 sonatas, “Children’s Album”, a large number of individual plays, preludes, etc. Special attention deserves the genre of the concert, which L. Zatulovskyi interprets in the traditions of the national style, guided by the principles of virtuoso, romantic type, not deprived of the signs of symphony. Musical art in Bukovyna, in particular the works of L. Zatulovskyi, has close ties with various national cultures, which has affected the polystylistic nature of the regional composers’ thinking. The concert for piano by Bukovynian composers of the twentieth century and the present is represented by the works of J. Elgiser and L. Zatulovskyi. Both composers adhere to the generally accepted features of the concert genre, however, each of them focuses on his own vision of the national style and fills the works with specific, author’s style content. The concert in F-minor by L. Zatulovskyi, written in the traditional form of a three-part cycle, is marked by the breadth of musical thinking, richness of emotional content and incarnation of various life conflicts. In terms of mastering the traditions of both Ukrainian and European music, the composer’s concert genre relies to a certain extent on the style of S. Rachmaninov, whose works, in his time, also affected the stylistics of the concert by V. Kosenko. Thus, the genre of the concert for piano in the works of L. Zatulovskyi combines the signs of its various types. Following mostly a romantic interpretation of the concert with the virtuoso piano function, the structure and general principles of drama bring the cycle together with the classical and symphonized type. At the same time, the concert of the Bukovynian composer is enriched with the characteristic features of the style of the artist. Melody, genre, rhythmic character, associated with Bukovynian folk song and folk dance traditions, are combined with classical features, typical components of the concert genre. The composer often introduces detailed copulas and cadences into the forms of various parts and their configurations. The frequent appearance of the latter – solo and accompaniment – is observed not only in the party of a solo instrument, in this case piano, but also in other members of the orchestra as well. This testifies to the special composer’s thinking of L. Zatulovskyi, for whom the process of improvisation and virtuoso playing acquires great significance.