МУЗИЧНО-ТЕАТРАЛЬНА СПАДЩИНА ВОЛОДИМИРА БАЛТАРОВИЧА В КОНТЕКСТІ СТАНОВЛЕННЯ УКРАЇНСЬКОЇ ОПЕРЕТИ 1930-х років (із фондів Львівської національної наукової бібліотеки України імені В. Стефаника)

Abstract

Introduction. In the early 1930s, the task of creating a new Ukrainian operetta arose on Ukrainian soil, however, the ways and conditions of its implementation in Eastern and Western Ukraine differed significantly (state system, ideology, professional and production opportunities, etc. played its role). In “UnderSoviet” Ukraine, composers were in a better financial position: there were stationary specialized theaters with professional performers, state support. However, they had to glorify the “happy Soviet life” (in the conditions of mass repressions and the Holodomor) — mainly due to mass song genres. In 1930s, the musical-theatrical creativity of Lviv composer, singer, and public figure V. Baltarovich: “Mefistiada” (1930–31), “Three Hearts in 2/4” (1930), “Frogging” (1932–34), “The Marriage in Two Apartments” (1933), “Chords” (1934) and “Sich’s adventure” (1939, author of the libretto G. Luzh¬nytsky), — had a great popularity, confirming the responses of the press of that time. However, V. Baltarovich’s emigration to Czechoslovakia after II World War led to the removal of his works from the repertoire and a ban on even mentioning his name. Therefore, the fourth volume of the academic “History of Ukrainian Music” (1992) was only about Soviet operetta. The first information about the operettas of Western Ukraine began to appear only with the beginning of Ukraine’s independence. As one knows, in the funds of V. Stefanyk’s LNSBU manuscripts of the musical comedies “Marriage in Two Apartments” and “Frogging” have been preserved since 2011. So, objectives: to introduce the named works into scientific circulation and to inscribe them in the context of Ukrainian operetta. The musical and theatrical heritage of V. Baltarovich (Ston) has been analyzed. His talent, education and musical activity at the head of the Bohemia theater studio made it possible to create outstanding works. His music was “fashionable”, easy to remember, with many salon dances (tango, waltz, foxtrot, rumba, etc.). The composer made extensive use of ensembles (duets, trios, sextet), and sometimes quoted classical music (F. Chopin’s Funeral March, Toreador’s couplets from opera “Carmen” G. Bizet etc.) in a parody key. Results and Discussion Conclusion. We proved that V. Baltarovich’s musical and theatrical works were predominantly comic in nature (sometimes with elements of satire). Built on models of the salon genres, they were designed to entertain the public (and successfully achieved that goal). With some textual editing of these musical comedies (first of all, “Marriage in Two Apartments” and “Frogging”), they deserve a musical and stage reconstruc-tion, that will enrich the national repertoire. Keywords: V. Baltarovich’s musical and theatrical heritage, musical comedies, epoch musical dictionary, “Marriage in two Apartments”, “Frogging”, operetta of 1930, becoming.