Багательний стиль В. Сильвестрова в контексті ґенези жанру багателі в українській музиці

Abstract

Research objective is the analysis of the bagatelle style of the V. Silvestrov in the panorama of the basic trends of development of the bagatelle in Ukrainian music in the aspect of individual-compositional interpretation of the genre. The methodology of the research is based on the unity of various relevant methods: the approaches of historical musicology, comparative and system methods, elements of genre and style analysis. The scientific novelty – The article for the first time presents a panorama of the bagatelle genre in the works of Ukrainian composers from the first third of the nineteenth century to the present days. Conclusions. In Ukrainian music we observe a wide range of creative reading of the bagatelle genre in accordance with the author’s style – from the traditional “easy” (or even didactic) miniature to the whole universe, embodied in a small form, in the legacy of V. Silvestrov. Bagatelles of the Ukrainian composers are presented in various modifications – as individual plays, cycles or their parts (including as one of the numbers of the ballet). Side by side with piano bagatelle, there are also exist works for chamber ensemble and string orchestra, as well as bagatelle performances. However, most of the examples of the bagatelle of Ukrainian authors remain within the traditional interpretation of the genre as a small, easy to perform play, most composers turn to the genre of bagatelle rather sporadically, without building a special concept around it. For Silvestrov, the bagatelle becomes a kind of lens through which the artist looks at the world, and bagatelle principle (“bagatellity”) becames an expression of a certain way of thinking, the basis of style, the features of which are embodied not only in the bagatelle themselves, but also extrapolated to other genres. Sylvester bagatelle is a bagatelle in the highest sense, which is far from “trifles”, goes beyond the usual understanding of the genre, becomes, according to the author himself, the “grain of music”, the embodiment of Platonic ideas, acquires the features of a meta genre. The samples of the bagatelle genre in Ukrainian music considered in this publication need a more systematic analysis in the future, one of the tasks of which may be to outline the typology of Ukrainian bagatelle.