Unknown impressionism
Sonata for violin and piano op. 19
Download 3.96 Mb.
|
- Navigate this page:
- Quartette № 2 op. 4
- “Reflections” op. 16
| Sonata for violin and piano op. 19 (figures 1, 4 of the piano part). In both cases this is an account of the theme. But in the figure 1 it sounds resonantly and capriciously in the high register as combination of a perfect fifth with chord from fourth and fifth. In the figure 4 the theme consists of two chords from fourth and fifth in contrary moving, marginal points of which are divided by four octaves, and in such case the space of a theme is widen.
In the traditional cycle of the Quartette № 2 op. 4 Lyatoshyns`ky originally interprets the second part (Molto lento). Here he has stylized a music exotics of the Orient, having lean on the pentatonic modal scale. Evidently, not accidentally among other parts only this one has a title (“Intemezzo”). It`s possible that the author just in this case wanted to emphasize its certain substantial roundness, self-sufficiency. Despite of a ternary form (which “provokes” a presence of a contrast idea), in “Intemezzo” has been achieved an extent of one sound picture owing to common modal basis. This feature is habitual for Impressionism, it means a full scope by thought and passions of sound picture. Slow and rhythmically stable moving by perfect fifths in a violin II and a violoncello becomes an outline (but not a background in a traditional sense), on which rhythmically capricious “embroidery” of a violin I and a viola emerges. Limpidity of sounding is favoured by phonic character of key F sharp major, by dynamics nuances p, pp and timbre means con sordino. (Ex.33) Ex. 33 Borys Lyatoshyns'ky, Quartette, Intermezzo 
In the figure 3 the composer creates a spatial effect: the theme of a middle section is like an unison of a violin I and a violoncello on the distance of two octaves and a space between them is filled by quintuplets of a background line. In the piano cycle “Reflections” op. 16 the second and the fifth pieces carry an impact of an impressionistic world-perception as little isles of delicate lyrics on the general background of expressive emotional conditions. The image of the № 2 is dreamy, tender, especially delicate, and in the same moment is full of inside tranquility. (Ex.34) Ex. 34 Borys Lyatoshyns'ky, Reflections, II, the first section 
This piece written in a ternary reprise form shows an interesting decision of textural aspect with phonic effects. The most revealing is the middle section which arises from shimmering pattern in a shape of the laid out the third inversion of the seventh chord as a triplet. Actually, on this background is visible a fastidious, refined relief of the melody. Double of its tones on the distance of two octaves is as colourful nuance (an effect of rarefaction). From time to time in the bass voice there appears a compound pedal-arabesque with a tritone as its base Special interest represents a rhythmical organization of this section: a combination of the ideal triplet pattern in the middle layer, rhythmical improvisation in the melody and directly stressed “without system” of the remarks in a pedal complex, appearing quite unexpectedly (Ex.35). Ex. 35 Borys Lyatoshyns'ky, Reflections, II, the middle section 
Also Lyatoshyns`ky demonstrates his active attention to coloring nuances, introducing a series of parallel perfect fourths – a new phonic trait, which divides the middle section from the last one. The textural aspect in the piece № 5 is similar to № 2: there are also three layers but here they have another interpretation. The upper layer – quintuplet formulas – is ostinato, where a phonic colour of minor second is distinguished by the rhythmical irregularity of its using. The first minor second coincides with the beginning of a quintuplet, the next one is the second in this quintuplet. The second layer is a refine sharp melodic line of an instrumental type. The third layer is represented by the spatial bass b, which embraces four octaves and poly-rhythmically correlates with the upper layer (Ex. 36). Ex. 36 Borys Lyatoshyns'ky, Reflections, V, the first section 
So, in the 1920s Lyatoshyns`ky actively has used the impressionistic means for creating a special image circle (the images of changeable, short transient moods; fantastic, unreachable dreams; delicate, silent secret emotions, born by symbolists` poetry, by its enigmatic, a little cool and capricious “moon” colour): a melody as arabesque; series of parallel unresolved chords; changeable, irregular rhythm with often use imbroglio; the typical textural images – harmonic figurations as vibrating patterns, the prolonged bass pedals, inclusion of a large space with marking sonorous “futilities” inside. But in contrast to Debussy`s inclination to the non-semitone scale Lyatoshyns`ky has used the broadened 12-sound system (an exception is mentioned Intermezzo from the Second quartette). Download 3.96 Mb. Share with your friends:
|