Unknown impressionism
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- Two romances op. 10
| p and pp. Its intonation peculiarities (a range of a diminished octave, initial minor second, next steps on the minor seconds, a jump on the minor sixth down with a step-opposition on the minor third up) are revealing for the individual Lyatoshyns`ky`s style where even in a static image sharpening of the intonations is traced. (Ex.27)
Ex. 27 Borys Lyatoshyns`ky, “A New Moon” 
In the fourth romance “Disappearance of the Moon” as in the previous ones the tonal center is absent, its function is adopted by chord c-e-fis, marked by astringent colour of densely placed tones. The piano part consists of two layers. The first one is melodic moving of the major thirds and the second one is ostinato tunes. Their interval and rhythmical structure is very original – descending jump on a perfect octave with next steps on a minor second are represented by special rhythmical formula (triplet of demisemiquavers and quaver with a point) in consequence with which there is accented range of a major none. (Ex.28) Ex. 28 Borys Lyatoshyns`ky, “Disappearance of the Moon” 
Two romances op. 10 continue the same tendency of searching in aspect of harmonic colouring, Lyatoshyns`ky desires to render change-ability of mood, mixed colours of the nature pictures by atonal chord means, orchestral interpretation of piano accompaniment. Both poems are typically romantic, related by an idea of solitude and an image of a moon which depends on the hero`s passions. In the first romance quick passing of “tender dreams” associates with change-ability of a moon light. In the next one an image of a moon is personified and embodies solitude of a live creature. But music interpretation is far from only romantic perception because it`s marked by colouring attitude to music flow. “My dreams in loneliness fade” demonstrates Lyatoshyns`ky`s thought moving – from late romantic model to Impressionism. Accordingly there appears a binary form. Its first section is built by the principle of steady falling away of chord accompaniment. The main harmonic colour here is a secondary seventh chord with diminished triad and its inversions. The vocal part is also full of the tritone, minor second sharp intonations. A harmonic style of the second section is more refined owing not only to complicated structure (secondary seventh chord with minor third, secondary seventh chord with major seventh, dominant major ninth chord with flattened fifth, the same one with raised fifth) but to textural changes (subtle moving of quintuplets and triplets in meeting lines). Similar textural design we can also observe in the piano part of the romance “Moon”. In the upper register there is a chord, consisted of fifths and fourths, which slowly comes down by the semitones. The bass voice moves by the tones of secondary seventh chord with major seventh, of dominant seventh chord and a chromatic change of the seventh enriches music texture by colouring traits (Ex.29). Ex. 29 Borys Lyatoshyns`ky, “Moon” 
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