УКРАЇНСЬКА ФОРТЕПІАННА ЕЛЕГІЯ ПОЧАТКУ ХХ СТ. У КОНТЕКСТІ ЄВРОПЕЙСЬКОГО РОМАНТИЗМУ

Abstract

The purpose of the article is to determine the specific character of the Romantic style in Ukrainian piano music through the example of elegies, which are considered in the context of European Romanticism. The elegies by M. Lysenko, Y. Stepovyi, and S. Liudkevych written at the beginning of the 20 th century are compared with those by West-European and Russian romanticists (J. Massenet, E. Grieg, A. Arensky). The methodology of this research consists of L. Kornii’s conception of evolution of Ukrainian Romanticism (to justify generalizations of the style); the theoretical method of modeling (to build analogies between the genre and stylistic principles of European and Ukrainian romanticists); the comparative-historical method (to define general and specific genre and stylistic characteristics of elegies by Ukrainian and foreign composers). Scientific novelty of the work lies in consideration of Ukrainian piano music (through the example of elegies) in the context of European Romanticism from the standpoint of the revelation of Ukrainian romantic style specificity. Conclusions. It was proved that Romanticism in Ukrainian piano music developed on the basis of harmonious interaction of national and foreign style components. Creating samples of elegy, Ukrainian composers looked to the creative work of West European and Russian romanticists, rested on the genre and intonation sources of Ukrainian folklore, and reconsidered the specific artistic tendencies of the epoch through the prism of the national musical attitude. The Elegy by S. Liudkevych is perceived as the quintessence of Romanticism in Ukrainian piano music of the beginning of the 20 th century. This composition is the embodiment of Ukrainian national version of the elegy genre.