Unknown impressionism
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- RESUME
- “ Three Preludes”
- LITERATURE
| Thus, already in the very structure of the themes – modal, intonation, rhythmical one – there are laid principles of the next expansion of the music images to wit their colouring modifying, constant re-comprehension by modal, harmonic, textural, dynamical, rhythmical changes. Owing to this the main images appear every time in a new light creating a wide circle of moods and passions which continually is fluctuating between poetical contemplation of a nature and inspired world of the human passions.
In this aspect there is important the timbre modifying. An image sense of the themes changes every time connecting with a specific timbre of an instrument. By this way at the beginning the mysteriousness of the first theme is stressed by the basson middle register saved from a sharp typicality. The next canonic calls-over of a clarinet and corne anglais obviously carry “an plain air” character with the same effect by flowing moving of strings. This theme, represented by the strings in the high register, at once switches “the action” to inside world of the human passions: it gains a passion of an excited utterance. Especially in the development section an interaction of different devices with modifying re-comprehension creates a very plastic substance. In the episode Tranquillo (figure 13) the dynamic level abates after climax and on the background continuous chords the first theme is played placidly by the violoncellos and the contrabasses in a minor as a concentrated meditation. And suddenly here arises an unexpected switch to another space, to another temporal dimension (figure 14). The intonations of the first theme dissolve in the fluid, airy figurations of a flute on the minor triad in the second inversion, in the augmented triad, in the secondary seventh chord with major seventh background. It seems like a stopped moment and admiring by it which is connected with a similar substance of the coda as a semantic arch. The character of the last one is clear and brighten up, the figurations, founded on the augmented triad and the diminished seventh chord as if rarefy an atmosphere by “melting away” sounds. The second part of the symphony – Adagio – is a bright picturesque tone canvas: the night landscape, illumined by shimmering of the moon light rays. The first section has been marked by the stereophonic effect of the sound substance, it is reached by means of the unisons on the two octaves distance. At the beginning we can observe the tremolo background in the parts of the violins I and the violas, then the theme is superimposed by the flutes and bassons unisons in the same disposition23. (Ex.40) Ex. 40 Lev Revuts'ky, 2nd Symphony, part II, the first section 
The peculiarity of this episode is its fantastic character, mainly motivated by the using of whole-tone scale elements (in the key c minor with the Phrygian nuance the melody descends from dominant) and melodic minor (g is as a temporary key-note). In Mikhail Bialyk`s opinion, such originally used means – moving around a tonic fifth – is characteristic to the Ukrainian epic strains, especially to the “dumas”. The Phrygian mode elements which are present in the melody too, are characteristic to the Ukrainian lyrical songs. Thus it becomes apparently a special Ukrainian mood of this fragment24. The modal base is be-tonic as E flat major and g minor and contains the similar modal “shimmering” (beside to natural here are used the sharpen and flatten degrees). The rhythmical structure of the theme has an improvise freedom of a movement. Such peculiarity is accentuated by its phrasing: accordingly to the symmetrical period structure (consisted of two four bars) all phrases inside of the sentence are different by the dimensions and break a possible square-ness. In the following crossing to the main theme of Part II the first tune of the melody “Oji Mykyto, Mykyto” detaches itself. It brings to the theme of the whole music canvas more impressionistic nuance stated by the parallel major thirds in the oboes and clarinets parts. The development of the main theme25 is clear, where the tunes from the first theme appear as the distant calls, reflections remembering the water-colours images by the impressionists. An instrumentation is gentle reproducing sensitively lyrical mood: the separate remarks of the woodwind are accompanied by the light, aerial tremolo played by the strings and glissando by a harp. The harmonic colours of this fragment are a ninth chord and a dominant seventh chord. Part III is a spirited, inflammatory genre tone picture, based on the folk round-dances melodies “Ah my proso sijaly” (“We sowed a millet”) and “Pry dolyni mak” (“A poppy is growing near the valley”). In these melodies Revuts`ky has stressed the dance, rhythmical foundation. Thus the third part of the symphony by its conception does not foresee a use of the impressionistic means. The composer, demonstrating his skills in variation development of the themes, has used the classical devices. For whole conception such final seems appropriate. It logically finishes gradual clearing of an intention: from change-ability of the images, their significance, fluctuation of the mood crosses to the picture of a nature, from a passion to a landscape sketch, and to the bright, clear genre substance in the vital energy of the final part. Unfortunately, this part is the least original with its music language as compared with previous ones. The most valuable is the natural syntheses of the Ukrainian folk sources with the rich range of expression of the impressionistic means which has been discovered by Revuts`ky in the first and the second parts of the symphony.
valuable contribution for the future development of the British and Ukrainian music. MUSICWilliam Baines “Paradise Gardens” “Labyrinth (A Deep Sea Cave)” from the series “Silverpoints” “Twilight Woods – a fragment” from the series “Twilight Pieces” “The Lone Wreck” from the series “Tides” “Prelude № 5” from the series “Seven Preludes” Frederick Delius
“Carillon” “Danse Langoureuse” op. 74 № 3 “Solemn Danse” op.75 № 3 Vasyl` Barvins`ky “Prelude” in F sharp major “Improvisation” (part of piano cycle), “In Wood” for voice and piano Trio in a minor (second part) “Frog Valse” “Prelude” in e minor Borys Lyatoshyns`ky “Moon Shadows” for voice and piano op.9 “Two romances” for voice and piano op. 10 “Ozymandia” for voice and piano op. 15
“Reflections” op. 16 Lev Revuts`ky Second symphony LITERATUREMykhail Bialyk, L. Revyts`ky. The Features of His Works (Kyiv, 1973; in Ukrainian). Roger Carpenter, Annotation to disc, William Baines. Piano music (Lyrita Recorded Edition, England, 1972). Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977). Edison Denisov, `About Some Peculiarities of Claude Debussy` Manner`, Modern Music and Problems of Composer`s Technique (Moscow, 1986; in Russian), 90–111. History of Ukrainian Music, 4 (Kyiv, 1992; in Ukrainian). Christopher Palmer, Delius: Portrait of a Cosmopolitan (Duckworth, 1976). Christopher Palmer, `Cyril Scott: Centenary Reflections`, The Musical Times, cxx (1979), 738–741. Christopher Palmer, Impressionism in Music (London, 1973). Stefania Pavlyshyn, Vasyl` Barvins`ky (Kyiv, 1990; in Ukrainian). Stefania Pavlyshyn, `Vasyl` Oleksandrovych Barvins`ky`, Ukrainian musicology, 3 (1968; in Ukrainian), 132–141. Fiona Richards, `William Baines and His Circle`, The Musical Times, cxxx (1989), 460–463. Victor Samokhvalov, Borys Lyatoshyns`ky (Kyiv, 1972; in Ukrainian). 13. Tamara Shaeffer, Lev Revuts`ky (Kyiv, 1979; in Ukrainian). 1 Fiona Richards, `William Baines and His Circle`, The Musical Times, cxxx (1989), 460. 2 Roger Carpenter, Annotation to disc, William Baines. Piano music (Lyrita Recorded Edition, England, 1972). 3 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 77. 4 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 102. 5 An idea of ostinato technique in the kind of a pedal point or of the repetition of phrases was a very characteristic feature for Baines` style (Ibid., 80). As is generally known this device was often used by impressionists for both static character and spatial effect. 6 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 81. 7 Ibid, 101. 8 Christopher Palmer, Delius: Portrait of a Cosmopolitan (Duckworth, 1976), 19. 9 Christopher Palmer, `Cyril Scott: Centenary Reflections`, The Musical Times, cxx (1979), 740. 10 Christopher Palmer, Impressionism in Music (London, 1973), 161. 11 From the point of view of a texture the variations form the groups consisted of two ones – 2+3 4+5 6+7 8+9 10+11. 12 Stefania Pavlyshyn, Vasyl` Barvins`ky (Kyiv, 1990; in Ukrainian), 82. 13 As evening time will come And twilight will be in the window Some unforgettable reminiscence Will come to me at moment that… Incomplete and awkward picture, From time has turned so gray and faded, It seems that a painter wasn`t subtle enough To draw the image that. On picture the hazel is depicted, Old oaks are standing here and there, Narrow and overgrown path winds Between roots through felling. Winds of autumn have torn away Leaves faded, turned yellow. Last flowers have dried up out, Last traces disappeared. What does seek in wood So sad, as autumn, girl? Behind the clouds sun sits down, Calm and silence is around. (Free translation by the author of the article). 14 At the first time the diatonic and pentatonic features in piano part of this romance as impressionistic means have been paid attention by S. Pavlyshyn. See Idem, “Vasyl` Oleksandrovych Barvins`ky”, Ukrainian musicology, 3 (1968; in Ukrainian), 139. 15 Edison Denisov, `About Some Peculiarities of Claude Debussy` Manner`, Modern Music and Problems of Composer`s Technique (Moscow, 1986; in Russian), 94. 16 In Trio there was used a principle of monothematics following that intonation similar to themes have different image-bearing significance: the intonations of folk origin give to the theme firstly the epic features of the duma`s tune then march activity of historic songs (in the 1st part), also the theme intonations appears in the final kolomyika (the Carpathian-Ukrainian folk dance). 17 It is obvious that this influence has happened through Lyatoshyns`ky`s teacher Glier whose imitation of the Scriabin`s manner was an expressive style component. In 1910 Glier graduated Moscow Conservatory and his stay in a music athmosphere of Moscow was a determinant in that aspect. 18 Assosiation of Modern Music was founded as a section of the International Society of Modern Music in Moscow (1924), a branch of it in Leningrad (1926). There was an organization for popularization of modern music. It organized concerts, published the journal “Sovietskaya muzyka” (1924–1929). It`s members were composers Aleksandrov, Asafiev, Miaskovsky, Feinberg, Shostakovich. It has ceased its activity soon after 1931. 19 History of Ukrainian Music, 4 (Kyiv, 1992; in Ukrainian), 445. 20 Victor Samokhvalov, Borys Lyatoshyns`ky (Kyiv, 1972; in Ukrainian), 12. 21 Tamara Shaeffer, Lev Revuts`ky (Kyiv, 1979; in Ukrainian), 7. 22 The folklore source is a song “Oij ne zhal` meni ta ni na koho” (“I don`t regret whom”). 23 There is used a melody of the folk song “Oji Mykyto, Mykyto”. 24 Mykhail Bialyk, L. Revyts`ky. The Features of His Works (Kyiv, 1973; in Ukrainian), 141. 25 There is used a melody of the folk song “Oji tam v poli sosna” (“A pine-tree grows on a field”). Download 3.96 Mb. Share with your friends:
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