Жанрово-стильова специфіка камерно-вокальної творчості С. Василенка

Abstract

The purpose of the work is to identify the poetical of S. Vasilenko’s vocal heritage in the context of the traditions of Russian musical culture of the first half of the twentieth century. The methodological basis of the work is based on general scientific and special methods, among which the intonational-stylistic methods inherited from B. Asafiev and his followers, historical-cultural, genre-style, biographical, analytic-musicological methods in their complex application are essential, which together makes it possible to study poetics of the chamber-vocal heritage of S. Vasilenko in the context of Russian culture of the first half of the twentieth century. The scientific novelty of the work is determined by the fact that for the first time the genre-style specificity of the chamber-vocal creativity of S. Vasilenko is generalized in the foreshortening of the general evolutionary paths of the development of Russian musical culture of the indicated period. Conclusions. S. Vasilenko is an outstanding composer, conductor, teacher, folklorist, musician-educator who inherited the best genre and stylistic traditions of Russian music of the past. At the same time, he made a valuable contribution to its subsequent development within the framework of the culture of the first half of the twentieth century and the genre-style attitudes of Russian Art Nouveau. The sphere of chamber-vocal creativity of S. Vasilenko (over 200 compositions), covering all periods of his creative activity, has absorbed the most characteristic genre-style tendencies inherent in the composer’s creative method, focused on the academic direction of Russian culture and music of the first half of the twentieth century. The early period of vocal creativity of S. Vasilenko is characterized, on the one hand, by the inheritance of the best traditions of Russian chamber-vocal lyric poetry of the 19th century, including the traditions of P. Tchaikovsky and N. Rimsky- Korsakov (romances op. 2). At the same time, the poetics of his vocal work is closely connected with the traditions of Russian symbolism, and until the early 20s appeals to the worldview and poetry of A. Blok, S. Gorodetsky, V. Bryusov, K. Balmont, I. Bunin, M. Lokhvitskaya, I. Severyanin, S. Soloviev and others (op. 13, 16, 26, 40, etc.). The 20s in the activities of S. Vasilenko are also marked by a growing interest in folklore, international and oriental topics. The above is consistent with his compositions “Japanese melodies” (op. 49 a, 1924), “Hindu melodies” (op. 51), as well as with the cycle “3 Sinhalese melodies” (op. 55, 1926), etc. Finally, in mature period of creativity S. Vasilenko at a new stage of his creative evolution returns to the traditions of Russian folklore, creating two cycles based on adaptations of Russian folk songs (op. 61, 107), focused on a wide genre spectrum – from the ancient Slavic archaic and epic-historical songs, buffoonery up to ditties.