Unknown impressionism
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- “Frog Valse”
- “Prelude” in e minor
| Trio in a minor for piano, violin and cello (1910). Despite of this a sphere of the images carries to a listener poetical character of an idyllic picture which obliges so much to impressionistic direction of the means. At the beginning unisonous melody in the violin and in the cello parts is a delicate, indistinct image of a dream; its outlines sometimes hardly appears, sometimes disappears. Such impression has formed owing to the theme peculiarities16 – descending motion from the VI to the II degree (emphases of plagal correlation), non-semitone base and an effect of “echo” on the intonation of “the wood calls”. (Ex.22)
Ex. 22 Vasyl’ Barvins’ky, Trio in a minor, the first section 
First the theme in piano part is presented as a series of the chords of sixth, and here the harmony only thickens a melodic line (concentration of the theme). Then, despite of tempo and rhythmical liveliness the theme does not loose its objective meditative character. In reprise part of section A (figure 2, bars 7–10) we can see tonal “unity” of all components in F major. The theme does not come out from circle of a pentatonic scale, reaches to special calm and depth (octave caper in violin part, its broadened range; figure of “vibration” in cello part; a choral texture and prolonged admiring by tonic in piano part). Also in Trio there is noticeable tendency to weakening of functional logic by stress of harmonic colouring. For example, at the beginning of section B (figure 3) the tonic looses its “mighty” power owing to placing on the arsis. All attention is concentrated on the second chord (on the thesis), “coloured” by sixth (triad G major with sixth). So in the 2nd part of Trio in a minor equally there interact the features of Romanticism (song character of tunes, tonal comparison in third of sections F–D–h–D–F) and Impressionism (colouring of harmony, the phonic effects, non-semitone base of the theme A). In the piece “Frog Valse” (1910) Barvins`ky has used clusters (introduction, coda) in rare, fresh for timbre effect tonality G flat major. Together with special means of phonation (a right hand plays by fist double appoggiaturas, passages glissando) it creates a humorous fantastic image. Somewhat separately in the series of mentioned works there is “Prelude” in e minor. It is as an original mirror of young composer`s intensive searches in which all spectrum of his passions since that time had been reflected. Here are heard an echo of Ukrainian folk songs, of Scriabin`s ecstasy climaxes (bars 47–57), and beside there is an impressionistic refinement of music images. Simultaneously this “Prelude” gives a key for comprehension of next composer`s works development. Transparent, songful (like to a folk song) melody of the piece at once is represented in uncommon textural design: harmonization by chords of the sixth, occasionally by seventh chords, in upper register melody is represented by octaves – all these live, “breath” by boundless space. (Ex.23) Ex. 23 Vasyl’ Barvins’ky, Prelude in e minor, the first section 
From a modal point of view a modal change-ability in coda e minor – G major (genetically originated from Ukrainian folk songs) is connected at the same time substance what gives an effect of be-functionality. So first and foremost here there is its phonic characteristics. However in the presence of general impressionistic organization of a music texture (broadening of the special bounders on the four staves, colouring logic of tonal poking, the ellipses, variety of the point pedals) (Ex.24) Ex. 24 Vasyl’ Barvins’ky, Prelude in e minor, the middle section (bars 35–36, 42–43, 46–47) 
there is an important theme ending for the first time. It is as though “alien body” owing to its textural design: after solemn, majestic chord massif consisted of some layers there is folk supporting-voice “embroidery” of the separate lines. From the one hand there is a peculiar symbol, indication of a folk prototype by which the theme has been evoked. From the other hand the composer, having united these two different textural layers in the bounders of one theme, successively having confronted them, obviously feels (and allows to listener to understand that) their incompatibility: in next time supporting-voice ending of the theme is “cut off” as like something that does not blend with general development of an image. Just here a key is concealed for comprehension of Barvins`ky next creative development: if in this “Prelude” mentioned contradiction is decided in favour for Impressionism, then later the composer resolutely returns in contrary direction. He aspires to connect organically his own individual manner with the folklore sources. In composer`s consciousness a folk song certainly appears in concrete fact of its living existence, that is connected with this or that character texture (in particular, supporting-voice in choral singing). So, support on the folklore base in imagination of Barvins`ky comes into a conflict with the textural models, formed by Impressionism. Just by this we can explain Barvins`ky` refusal from the impressionistic means in his next works. It should be noted that impressionistic experience of early works did not pass without leaving a trace: a music facture in the works of last period was enriched by fresh harmonic details and original phonic effects. Download 3.96 Mb. Share with your friends:
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