Соната для баяну в творчості українських композиторів

Abstract

The sonata genre for bayan has been embodied in the works of many Ukrainian composers. Available examples of sonatas suggest the gradual transformation and evolution of the genre. Composers move from the classical form of the work to the synthesis of sonata with other genres. Sonata allows to embody various composer concepts – lyrically-dramatic, epic, giving a fundamentally different color. Available sonata samples offer ample opportunity to translate different interpretations. The timbre and register features of the bayan are interpreted differently by the composers. The Bayan Sonata by Valentyn Bibik is an example of a work of philosophical and meditative character. Bayan not only embodies complex polyphony within a single instrument, but also creates the effect of having multiple instruments. The composer used sonor complexes in this work. One of the hallmarks of modern sonatas for bayan is the use of the principles of neo-folklorism, which are combined with modern compositional techniques. Such sonatas composed by A. Haydenko, V. Zubitsky, Y. Oleksiv. In the XX-XXI centuries the genre of sonata is based on the technical-stylistic concepts of compositional thinking. In a bayan sonata, composers rely on the expressive capabilities of an instrument based on the classical foundations of technology. At the same time composers are introducing unexpected techniques of sound production and imaginative-compositional solutions. It saturates the bayan sonata with the invariance of genre dramaturgy and widens the artistic circle of images. The need to create unique interpretations of a work that requires a high level of artistry is being updated. There are works in recent decades, including sonatas, which testify to the phenomenon of Ukrainian «modern-bayan art» – a new concept of playing the instrument.