BALLAD FOR PIANO BY BORYS LYATOSHYNSKY

Abstract

The purpose of this paper is to determine the imagive-intonational and performance-interpretative quality of the Piano Ballad by B. Lyatoshynsky as one of the brightest examples of this genre in Ukrainian music of the 20th century. Methodology. The methods of intonation analysis, performance analysis, genre-stylistic analysis of a musical work (by ear and according to the sheet music), methods of collecting and systematizing scientific facts, methods of explanation and generalization are used. Scientific novelty. For the first time in musicology, a detailed intonation, genre-stylistic and methodical-performance analysis of B. Lyatoshynsky’s Piano Ballad as a one of the brightest works of Ukrainian piano music of the 20th century has been carried out. The genre-stylistic quality of the thematic material of this work, the intonation connections between the themes and the specifics of the metrorhythmic and timbre-textural development of the work are revealed. The such performance issues are researched: the development of the artistic image, the performance drama, the rhythmic organization, the tempo, the agogics, strokes (legato, marcato, etc.), dynamics, pedals, the sound creation, the use of various types of pianistic techniques – finger, chordal, figural, octave, passage, the use of synthetic-indivisible texture of the orchestral type, the functionality of pianist’s performance apparatus in general, ways of achieving the artistic integrity of the work. Conclusions. The existence of two variants Lyatoshynsky’s Ballad musical text was observed: the Urtext (1929) and the edition by B. Kryvopust (2018). Their differences were described, and it was concluded that both variants have the right to be used in concert and pedagogical practice. It is noted that, as an artistic whole, the Ballad by B. Lyatoshynsky is a very complex text submitted to a multivariate performance reading. The signs of freely interpreted sonata form in Ballad musical text of are argued. The features of higher-order forms, while at the same time, are noted in it – three-fifth-part form, variant-strophic form, contrastive-component form, signs of poem, rhapsody. It is emphasized that at the deep level of intonation the ballad demonstrates an incredibly high degree of unity of the thematic material. From the point of direct thematism and features of its development it is full of contrast, picturesqueness, episodicity. Author emphasis is placed on the “multifacetedness”, at the same time, the extreme concentration and brevity of the Ballad text. Researcher considers it a characteristic feature of genre Ballad, which ensures the high potential of its various performing and musicological interpretations.