Folk Song "Sorrow After Sorrow" In The Works Of Borys Liatoshynsky: Intonation And Semantic Analysis

Abstract

Relevance of research. Borys Lyatoshynsky (1895–1968) is one of the most outstanding composers of the last century. Many studies have been devoted to the study of his work in various aspects, although this topic remains incomplete and relevant. A manifestation of the composer's national thinking is, among other things, his use of folk melodies as the basis of thematism. A comparison of the composer's methods of working with folk song material in different genres has not yet been the subject of a special scientific study.
 The purpose of the study: to investigate the process of rethinking the folk song "Sorrow after Sorrow" in Lyatoshynsky's works, to consider and compare the principles of the composer's work on the folk melody in the genres of arrangement and symphony.
 Methods. The comparative, historical methods, as well as methods of genre-style, semantic and intonation analysis were used.
 The results and conclusions. The article analyses B. Liatoshynsky's approaches to working with folk song material using examples of works in which the composer refers to the folk song "Sorrow after Sorrow". The principles of processing this folklore sample in the genre of folk song arrangement for voice and piano are highlighted in the context of the evolution of the genre and in relation to the traditions established in Ukrainian music. The commonality of the basic methods of folk song arrangement in the works of M. Leontovych and B. Liatoshynsky is substantiated—the inviolability of the chant as a carrier of the intonation-semantic idea of the work, the usage of the latest compositional techniques of harmonic and textural variation, the development of the most expressive motifs in the accompanying voices or instrumental part, the construction of a through(endto-end) musical dramaturgy that pushes the limits of the original strophicity, the introduction of conceptuality and symphonic thinking into the genre. The place and role of the folk song melody "Sorrow after Sorrow" in the Third Symphony of B. Liatoshynsky is considered, the process of its involvement into the complex symphonic development is characterized: the inclusion of the theme into the leitmotif system of the symphonic cycle, the usage of intonational variation techniques, methods of timbral dramaturgy, polyphonic and motivic development in relation to the theme, due to which the theme appears in various figurative and emotional gradations, undergoes significant changes up to its transformation (the principle of monothemism).
 Conclusions are made regarding the continuity of the stages of working with the folklore primary source in the researched works of Liatoshynsky: in the genre of arrangement, a peculiar adaptation of the folk song sample to the field of academic music takes place, in the process of its compositional development, the intonational-semantic core—the motif of regret—is distinguished. At the next stage, this motif becomes the basis for a complex figurative and thematic development and author’s reinterpretation in works of other genres, an impetus for the implementation of significant symphonic concepts.