К проблеме эпического в музыкально-поэтическом тексте третьей симфонии "Я утверждаюсь" Евгения Станковича

Abstract

В статье исследована проблема эпического в музыкально-поэтическом тексте Третьей симфонии “Я утверждаюсь” Е. Станковича. Проанализировано думно-балладное (с элементами плача) пространство выражения эпического. Обозначены авторские темпы и метрономы, позиционирующие эпическую медлительность музыкально-событийного повествования. Выделены и охарактеризованы “консервативные эпические приемы” сновидения и колокольности, эпические образы ветра/бури и плуга.

У статті досліджено проблему епічного в музично-поетичному тексті Третьої симфонії “Я стверджуюсь” Є. Станковича. Проаналізовано думно-баладний (з елементами плачу) простір вираження епічного. Позначені авторські темпи і метрономи, що позиціонують епічну повільність музично-подієвого оповідання. Виділено й охарактеризовано “консервативні епічні прийоми” сновидіння і дзвоновості, епічні образи вітру/бурі та плуга.

Herein the problem of epic in musical and poetic text of the Third Symphony “Myself I State” by Ye. Stankovich is studied. Eleven verse compositions by P. Tychyna has been studied, namely: “The Blue Fanned My Soul…”, “I Don’t live when I Don’t burn…”, “There is Poplar in the Field”, “Watered the Horse”, “The Revolutionary Anthem”, “The Plow”, “The Wind from Ukraine”, “How He Fell…”, “Funerals of Friend”, “Sun Travels the Banks of Eternity...”, “Myself I State”. They defined the “real component” of symphony’ musical plan and turned out to be the basis of colossal six-parted vocal and symphonic cycle. In the table it was noted that word texts of these compositions were used by the composer in different variants of his interpretation. At the same time, the general title of the symphony appeared to be the positioning of collective/objective point of view of spectator/narrator – the poet/composer identifying himself as people and narrating on its behalf. The epic of compositions by P. Tychyna is defined by genre and meter-rhythmical structure of poem organically assimilated with musical and text space of the symphony. In particular, in the verse novel “How He Fell…” taken as basis for the IV part (the “Ballade”) the epic element showing itself through interpretation of some distinctive artistic elements of folk-song folklore was noticed and also the ballade intonation of the poem was denoted. At the same time, the mentioned ballade style organically synthesized with the duma style showed itself throughout the symphonic cycle at different levels of its musical embodying. Meanwhile, duma and ballade space for expression of epic is enriched with interpretation of genre peculiarities of weeping. Author’s temps and metronomes positioning the epic slowness of music and eventful narration of the symphony are emphasized and characterized in “Myself I State”. Such properties, as “variability” and “repeatability” positioning the principle of identity of “narration” and “re-narration” were emphasized. They become foundational methods of forming epic narration, in particular, in the V part (“Recitatives”). Landscape and nature origin typical for epic symphonic style was studied on the level of the character of wind. This character strengthened the narration of narration I (“Prelude”), II (“Toccata”) and III (“Canons”) parts with the elements of descriptive character and also became the symbol of expression of development dynamics: from personal feelings and conditions to stormy society and social transformations of historical reality. Moreover, the presence of gradation wing/storm is meaningful and it reflects the increase of semantic sings of the symbol. Positioning the epic by virtue of intonational characters of wind/storm is enriched with visualization of enormous plow. This character is expressed through the genres of toccata and march that appeared in II, IV and V parts of the symphony. Dramatically opposite to the character of wind/storm, the character of plow symbolized a new life. While containing the underlying text for conceptualization of revolution as not only as destructive force, but also it is associated with the bylina character of legendary bogatyr Mikula Selyaninovich. “Conservative epic receptions” as dreaming and “bell-likeness” are emphasized and characterized. While forming steady associative artistic aura of oneurotrop, enrich the traditional line of allegorical intonational expression of revolution theme in symphony.