Impressionist-symbolist components of the stylistic filling of works of V. Barvinsky and M. Kolessa (on the example of the Sonata des-dur of V. Barvinsky and Sonatina of M. Kolessa)

Abstract

Purpose of the Article. The study concentrates on the identification of stylistic indicators of impressionism and symbolism in the works of Vasyl Barvinsky and Mykola Kolessa, in whose traditionalist pro-romantic orientation we find the elements of the impressionist-symbolist expressiveness within a writing style. The methodology of the study is de-termined by the intonational approach within the framework of B. Asafyev's school in Ukraine, methods of stylistic com-parative and musical hermeneutics are singled out, which allows us to identify in the musical analysis the stylistic fea-tures, which were not previously specified in the characteristic of works of the mentioned authors. Scientific novelty of the research occurs because for the first time in musicology of Ukraine, in the piano compositions of the mentioned com-posers through the analysis were revealed the features of connection with the musical modern in the form of using the means and expressive components of impressionism and symbolism. Conclusions. The analysis of Sonata of Barvinsky and Sonatina of Kolessa is unique in identifying the indicated stylistic components, which gives these works a special kind of "encryption" of revealing national folkloristic features in them, bringing them closer to neoclassicism in its "soft" manifestation, as observed in the work of M. Medtner, M. Ravel, H. Villa -Lobos and other outstanding composers of the twentieth century. As a part of postmodernism, style fixation of which has a neo-symbolist orientation, mentioned appeals to Impressionism-Symbolism are demonstrated in the auditory perception of the composition of Western Ukrainian mas-ters by encouraging appropriate repertory election of performers.