Impressionistic Tendencies in the Music of Ukrainian Composers

Abstract

The purpose of the article is to study the Ukrainian national intonation in the context of impressionism, from its inception at the turn of the twentieth century to the modern period. The analysis is based on examples of the compositional styles of C. Debussy, M. Ravel, and E. Satie, as well as on the further transformation of stylistic features in the works of contemporary Ukrainian composers: B. Liatoshynskyi, A. Biloshytskyi, and V. Vlasov. The methodological basis of the study is based on the following methods: historical – used to describe the events associated with the emergence of the musical impressionism trend; search – aimed at identifying the meaning of the concept of “musical intonation” and serves as a basis for further search for impressionistic trends in the scores of Ukrainian composers; comparative – used to identify common features between the founding composers of the style and Ukrainian composers; as well as analytical and intonation-dramaturgical methods. The scientific novelty of the article examines for the first time the influence of impressionism in the work of Ukrainian composers who worked in the genre of folk orchestral performance. An analysis of compositions and scores is carried out taking into account impressionistic tendencies in Ukrainian music. Conclusions. The direction of “musical impressionism” is considered in the context of the national European school of composition. The features of the impressionistic style in the national musical art are highlighted. The concept of “musical intonation” is clarified. Two stages of development of impressionistic tendencies in Ukrainian music, one of the brightest representatives of which is B. Liatoshynskyi, are identified. The impressionistic intonational trends in the works of contemporary Ukrainian composers are revealed. The following works are analysed: “Four Romances” from the cycle “Moon Shadows” for high voice and piano by B. Liatoshynsky, the third and fifth parts of the orchestral suite “From the Depths of Ages” – “Olga’s Bath” and “Drevlianskyi Ashes” by A. Biloshytskyi, as well as the orchestral work “The Girl and the Sea” by V. Vlasov. Their figurative content is justified, stylistic features and harmonic structure, which reveals impressionistic features in the context of the development of Ukrainian musical culture. Particular attention is paid to the analysis of intonational elements that form the characteristic sound of the works, their timbre and rhythmic richness, as well as the means of expressing certain moods through national harmonic consonances and the characteristic melodic structure.