«Сумної дримби звуки» Є. Станковичав аспекті втілення неофольклористичних тенденцій

Abstract

Research objective is to study in more detail the manifestations of neo-folkloristic direction in the chamber art of Yevgen Stankovich, to reveal the characteristic features of this phenomenon on the example of his play “Symnoi drimbi zvyki”. The methodology of the research is to use stylistic, analytical, generalizing methods that allow to investigate the specifics of involvement and rethinking by the author of folklore material. Scientific novelty. The play “Symnoi drimbi zvyki” in E. Stankovich’s chamber art is an example of the original interaction of neofolklore traits with modern composer techniques – all of which in the complex embodies the peculiarities of the individual style of the composer, revealing the timbre and sound coloration of his important factor. The leading idea for the work is the idea of ethnophony, which manifests itself as a timbre-sound aspect of folk instruments. The ethnophonism of the play recovers the forgotten sounds of the slumber, the tune of the nozzles, the vocal tones of the trembits by the use of purely academic instruments; reproduces the peculiarities of the system and techniques of playing these folk instruments. Conclusions. In E. Stankovich’s work, chamber and instrumental music becomes one of the most favorable areas for the search for neo-folk direction. For the composer, neo-folk tendencies remain an important factor in updating the artistic content and musical language of his works. Bright examples of this are such chamber works by E. Stankovych as the triptych “On the Verkhovyna” for violin and piano, string quartet, “Ukrainian poem” for violin and piano, “Symnoi drimbi zvyki” for cello and piano. In the last of the listed works, the neo-folklore aspect becomes an important stylistic feature of the composer’s creative work, which combines traditional and innovative, folk intonations and melodies with dissonant harmonies, sonoristic means. The mutual influences of folk and professional art become extremely important elements both for the author’s style of E. Stankovych and in general for the modern Ukrainian school of composition.