Sonata for violin and piano as a Serafim Orfeyev’s creative views

Abstract

The purpose of the article is to identify the intonation-content complex of the Sonata for Violin and Piano by the representative of the Odesa School of Composers Serafym Orfeyev in the area of the performer's interpretation of the symbolism of the sonata, comparison of similar works of Ukrainian composers in a specific historic period and identifying the original artistic concept of Orfeyev's work in accordance with his mindset. The scientific novelty is based on the fact that for the first time the work of Orfeyev, which has not yet been the subject of scientific research, is considered, and the significance of the composer's contribution to the development of the instrumental sonata of the XX century is revealed. Methodology. The personal features of the artist's creative preferences are determined through a complex of musical symbolism and reflection of the multiple meaning of the Orthodox church tradition of choral art, mythological information of folk-historical archaism in combination with professional achievements in the development of the chamber sonata genre. Conclusions. Sonata's analysis points to the signs of S. Orfeyev's stylistic search, which was expressed in the spread of the specifics of choral writing, to the comprehension of which (on the example of the works of Mykola Leontovych and Anatolii Lyadov) the composer paid great attention; in instrumental thinking, which was reflected in the saturation of the fabric of the ensemble work with a polyphonic plexus of voices, and especially hidden polyphony. The connection with folk art influences the reproduction of an expressive dynamic picture of a folk holiday. A rather complex synthesis of the dramatic and the lyrical creates a unique, deeply emotional concept of a musical work, which vividly complements the genre of the instrumental sonata with new features in the traditional romantic color.