Compositional peculiarities of concerto grosso in the creative works by A. Gaydenko

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Compositional peculiarities of Concerto grosso in the creative works by a. Gaydenko

Varakuta Maryna,

PhD in Arts, Docent, Professor of the History and Theory of Music chair, Dnipropetrovsk Music Academy after Mikhail Glinka

Votintseva Maryna,

Ph.D. in Phylology, Docent, Associate Professor at The Department of Translation and Linguistic Preparation of Foreigners, Oles Honchar Dnipro National University

The purpose of the work. The article examines the question of the revival of the concerto grosso in the music of the 20th century. This process obtained specific individual peculiarities in musical cultures of different nations, including the Ukrainian one. The work is mainly focused on the identification of the compositional peculiarities of the concerto grosso genre in the creative works of A. Gaydenko, a Ukrainian contemporary composer. The methodology of the research is a comprehensive approach to the study of the mentioned phenomenon, which is based on the reference to the historical and analytical methods. The historical method allows to determine what has changed and what has remained during the process of the old genre revival in modern music, whereas the analytical one gives a ground to the studying of the compositional peculiarities of the given musical work, chosen as material for the study. The scientific novelty of the work is defined by the reference to the creative works of the Ukrainian contemporary composer, whose music is known for concert performances and has hardly been examined. The analysis of the Concerto grosso by A. Gaydenko has revealed, that in his interpretation of the old European genre, an emergence of the distinct national peculiarities can be observed. These naturally go with compositional peculiarities of the prototype, what specifies modern Ukrainian music. The conclusions state A. Gaydenko refers in his creative works to the folklore, what is evident either in the concerts for bayan, or in Concerto grosso. During the whole cycle, we can observe the continuous change in the meter signature. In the Gaydenko's work, there is a spirit of competition, strong will and thickening in each of parts. In the Concerto grosso, the composer refers to the national folklore intonations, uses the contemporary musical techniques, but he does not bring any changes to the traditional composition of the genre concerto grosso. That prospects for the further study lie in the comprehensive investigation of the neo-genres in the instrumental music of the Ukrainian composers, representatives of different regional schools. gaydenko concerto national

The key words: genre system in Early music, concerto grosso, Ukrainian music of the 20th century, genre-stylistic renewal, string orchestra.

Варакута Марина Іванівна, кандидат мистецтвознавства, доцент, професор кафедри історії і теорії музики Дніпропетровської академії музики ім. М. Глинки

Вотінцева Марина Леонідівна, кандидат філологічних наук, доцент, доцент кафедри перекладу та лінгвістичної підготовки Дніпровського Національного університету ім. О. Гончара

Композиційні особливості жанру concerto grosso у творчості А. Гайденка

Мета дослідження. У науковій статті порушується питання процесів відродження жанру concerto grosso в музиці ХХ століття, що одержали індивідуальні особливості у національних музичних культурах, у тому числі в українській академічній музиці. Науково - дослідницька увага концентрується на виявленні композиційних особливостей жанру concerto grosso у творчості відомого сучасного українського композитора Анатолія Гайденка. Методологія дослідження представляє комплексний підхід до вивчення зазначеного явища і ґрунтується на поєднанні історичного, а також аналітичного методів. Історичний метод надає можливість визначити змінне та незмінне у відродженні старовинного жанру в сучасній академічній музиці, а аналітичний - вивчити композиційні особливості конкретного музичного твору, обраного матеріалом дослідження презентованої наукової статті. Наукова новизна роботи полягає у зверненні до творчості відомого сучасного українського композитора, музика якого більше відома насамперед за концертними виконаннями і практично не вивчена сьогочасними музикознавцями. Аналіз Concerto grosso А. Гайденка доводить, що в трактуванні старовинного європейського жанру проявляються яскраво виражені національні риси, які органічно поєднуються з композиційними особливостями жанрового прототипу, і що такі тенденції є специфічними ознаками сучасної академічної української музики. У висновках вказано, що у Concerto grosso знаний український композитор звертається до національних фольклорних інтонацій, виразно використовує сучасні музичні прийоми, але не вносить змін у традиційну композицію жанру concerto grosso. Перспективи подальшого вивчення означеної теми полягають у комплексному дослідженні нео- жанрів в академічній інструментальній музиці сучасних українських композиторів, представників різних регіональних шкіл.

Ключові слова: жанрова система старовинної музики, шпсеГю grosso, українська музика ХХ століття, жанрово-стильове оновлення, струнний склад оркестру.

The problem. The genre of the concerto grosso was formed and was actively developing within the instrumental music of Baroque. Further, in connection with the emergence and development of the solo instrumental performances, as well as with the crystallization of the new forming system, this genre was superseded by other genre patterns (such as solo instrumental concerto, divertimento, overture, symphony, sinfonia concertante, etc.), which continued their existence in Classicism and in creative works of the composers of the following epochs. After a long period of obliviousness, the concerto grosso revived in the music of the 20th century, what is connected with an interest in neo-genres and with the enrichment of the genre system of the contemporary music.

Relevance. The relevance is determined by the fact that the appeal of composers to ancient genre models in modern Ukrainian music requires a theoretical investigation, from the point of view of interpreting the genre prototype and compositional structure. Thus, through the study of A. Heidenko's works, as a representative of the musical culture of his time, in particular through the analysis of the concerto grosso genre, it is possible to highlight not only the musical specificity of the composer's style, but also the reflection of the peculiarities of the interpretation of ancient genres that occurred in the culture of the 20th century as a whole.

The analysis of recent researches and publications. The studies on the stylistic peculiarities and genre transformations of the concerto grosso in the music of the 20th century are being actively developed in the contemporary musicology. Among the scientists, who contributed to the development of the investigations, there are T. Levaya [3], I. Tukova [5], Yu. Bentya [1], I. Shabunova [6], I. Grebneva [2]. In addition, the investigation of the creative works of A. Gaydenko, in the aspect of the composer's reference to the genre system of Early music, has been hardly developed, so this makes the article relevant.

Purpose of this article. In the article, we put an emphasis on the process of the revival of the concerto grosso genre in the music of the 20th century, which has got its individual peculiarities in musical cultures of different nations. The aim of our research is to determine compositional peculiarities of the concerto grosso genre in the creative works of A. Gaydenko, a Ukrainian contemporary composer.

Object of study is the interpretation of the concerto grosso genre in modern Ukrainian music and subject - compositional features of the concerto grosso genre in the works of A. Haydenko.

The basic matter. The genre of the concerto grosso in the 20th century is closely connected with the following names - A. Schnittke, M. Reger (Concerto in old style, op. 123, 1912), E. Krenek (Concerto grosso 1921, 1924), B. Martinu (Concerto grosso, 1937), K. Penderecki, I. Stravinsky (used the structural principle of the concerto grosso in «Ebony concerto»), P. Glass, etc. In their works there is a new stage in the genre development, stylistic renewal, and new structural and compositional solutions. In their creative works, composers revitalize the forming principles of the concerto grosso genre, although they do not preserve all the peculiarities of the given genre: there is a predominance of the string section and an orchestra division into concertino and ripieno. The contemporary techniques (sonorism, quasi aleatoric) and comparison of the musical language of the Early and Contemporary music (so called polystylism by Schnittke). T. Levaya notes that: «The neoclassical interaction of the old and the modern and the combination of the universal and the national have been recently complemented with stylistic contrasts of a new type, which are acquiring an important conceptual and dramatic meaning: contrast, poly-imagery, tendency to use different musical patterns within the concept of concert. That is the reason why the concerto grosso genre does not lose its relevance, being responsible for current need of cultural assimilation» [3, 187].

Speaking about Ukrainian composers, who turned their creativity to this genre, we should mention a Ukrainian composer from Kharkiv, Anatoliy Gaydenko (born in 1937), whose creative works attract performers and listeners due to a strong national flavor, originality, sincerity of expression, contemporary musical language, and orchestration. His musical style is distinguished by the perfect combination of folklore motives, rhythms, figurative sphere with symphonic thinking, and contemporary music compositional techniques. From the list of composer's pieces of music, we can derive, that he works in a wide range of genres (symphonic, chamber, choir, and vocal pieces of music), but those ones, which are composed for folk musical instruments, find themselves in the highest demand. His creative credo is based on such foundations as the reference to the Ukrainian melos, ceremonialism, and the use of folk musical instruments (bayan, accordion, cither, cymbals, bandura) as solo instruments in symphonic music. At the same time, A. Gaydenko does not limit himself only to Ukrainian national folklore, but he also refers to Polish, Slovak, Moldavian, Balkan, French, American folklores, what can serve as evidence of composer's wide humanistic outlook and testifies the interrelation of different cultures and their reciprocal influence [4, 245].

Most of his works are famous for the public performances at the festival «Kyiv Music Fest», from publications, radio broadcasts and student concerts. Despite of the fact, that composer's symphonic works haven't been thoroughly examined by musicologists, they are quite demanded and widely performed.

In Concerto grosso, as well as in the pieces for folk musical instruments, working on the thematic material, A. Gaydenko (1991) reveals

his inventiveness. In this piece, the composer used imitation, ostinato techniques and thematic counterpoint.

On the one hand, the composer refers to the baroque style through the solo - tutti comparison (classical string orchestra and three soloists - two violins and a cello), ritornelli and suite-like disclosure. On the other hand, the musical language of the piece is full with the modern compositional techniques, sonority, atonality (there are only few fragments, where we can hear stable tonality, which immediately dissipates). Monotimbral instruments and relative thematic homogeneity put an emphasis on the dynamic solo-tutti contrast, what pays tribute to the tradition of A. Corelli's concerti grossi for string orchestra.

A. Gaydenko's Concerto grosso consists of three parts, each of them is organized by the principle of suite, with timbral contrasts between the parts. Part І - Andante rubato; part ІІ - Largo; part ІІІ - Allegro assai (Toccata).

The first part has a specific structure: the tutti-concertino contrast, which accompanies thematically concentrated and diluted fragments, leads to the formation of the ritornell-form, with periodical returns to the first theme, creating the rondo effect. Despite its quite moderate tempo (Andante rubato), beats, internally full with melismata and virtuosic passages, give an impression of the rapid music disclosure.

The intonational aspect of the first part is based on a tune which finds its origin in folk songs - the upward quarte (fourth) leap, which then is conducted with the help of the different rhythm patterns, is followed by the downward diatonic pattern, and thereafter by the chromatic triplets, that go under the part of the first violin. But this technique is recognizable during the whole part.

The main tune alternates with virtuosic passages or with triplets, or with rhythmic dance pattern, or with tremolo. Gradual layering of timbres, which leads to tutti, is implemented on the level of the distinct sounds - rapidly thickening clusters start to appear, that leads to the sonorous sounding and to the climax (figure 9), the highest point of the freedom. Here sounds the aleatoric improvisation of the whole orchestra, then the music facture thickens and the whole orchestra with soloists performs the main tune with a quarte interval.

Starting with figure 11, there appears a new thematic material - dance rhythm with waltz pattern, which gives, in some way, an emotional release. Due to this we can trace how the main tune transforms in a new way, what again leads to the sonorous sounding and to the coda.

In the coda, there is a stretto integration of themes (in tutti), played either by high- or low-pitched strings, creating the background for the main tune. The first part is based on the competitive and controversial soundings of the each passage of music, where one goes over another and vise versa.

The second part of the concert serves as a contrast for the first one. In this part, concertato and ripieni interact and let each other express itself, accompanying the themes only as a background.

There is no tempo contrast between the first and the second part as such, but there is a change in manner. The deliberate speed helps themes to flow smoothly either to tutti or to soloists. During the whole second part this manner gradually changes, that leads to the virtuosic, rhythmically bravura third part. So, if we divide the second part into two distinctive segments, in the first of them music acquires forceful qualities (composer's remark - piu mosso, risoluto). The beginning of the second section the composer marks with poco piu mosso, that means the climax of the second part and leads to the next segment - dramatico (figure 23).

The rhythmic pattern appears here for the first time - the dotted rhythms with emphasized 32nd notes. The themes of the folk origin go under the imitation and counterpoint.

At the end of the second part the dynamics of music weakens and the main musical themes become fragmentary, their tunes in turn «flare up» in the passages of different instruments, when the C-dur pizz. chord sounds in pp, then the third part starts attacca.

The third part (Toccata) turns out to be an independent virtuosic piece of music with etude characteristics, which is distinguished by rapid tempo, deep phonic sounding and thematic diversity. Here the toccata characteristic is evident; the technical figures are conducted by different voices, creating the continuous and energetic flow, that is to be noticed in the very beginning of the third part.

The initial section is composed in the triple meter, the material is introduced by the 8th notes, in the allegro assai tempo - it can be said that this section creates the toccata effect, which is stated in the name of the part and continues through it due to the rhythmic pattern.

Against this background the main theme appears as a transformation for the thematic material of the first part (figure 29), characterized by more evident folklore flavor.

The theme is constantly being modified - it is conducted by different rhythmic variants, by polyphony with different intervals (octave, fourth, seventh intervals and dissonant chords), by theme reduction, and by singling out of distinct tunes.

the theme with the seventh interval

the theme becomes more evident

As well as in the first part, here we can observe the thickening of the music facture, reduction of the durations, and the imitational disclosure appears.

The stretto manner of the theme conduction leads to rapidly thickening clusters, to sonorism and to the general climax, that are followed by the emotional release and, finally, by cadential section.

The cadence is based on the intonations of the first part, in slowed down tempo. The voices are being layered and, in turn, they hold up in chordal harmonies of the solo passages, and string harmonics of the first violin conduct the bayan sounding in a high register.

Gradually, the orchestra catches up the solo passages, the tempo quickens, and we can single out the theme elements of the first and third parts. The folk flavor becomes even more evident due to the violin sounding with an acoustic balalaika effect - pizz. on four strings in different directions.

At the end of the concert, the climax is conducted by the playing of the theme by the whole orchestra in ff with the fourth interval, with A-dur chord in the fourth interval. After the final theme, the music gradually dissolves and the following bayan imitation serves as the generalization of the whole Concerto grosso.

Conclusions

A. Gaydenko refers in his creative works to the folklore, what is evident either in the concerts for bayan, or in Concerto grosso. The concert is atonal, that contributes to dramatization and sonorous sounding. During the whole cycle, we can observe the continuous change in the meter signature. In the Gaydenko's work, there is a spirit of competition, strong will and thickening in each of parts. The national flavor appears in the melody, rhythm, and mode peculiarities. In the Concerto grosso, the composer refers to the national folklore intonations, uses the contemporary musical techniques, but he does not bring any changes to the traditional composition of the genre concerto grosso.

The prospects for the further study are in the comprehensive investigation of the neo-genres in the instrumental music of the Ukrainian composers, representatives of different regional schools.

Список використаних джерел і літератури

Бентя Ю. Concerto grosso Віталія Губаренка як приклад сучасної інтерпретації барокового жанру. Вісник НМАУ ім. П.І. Чайковського, 2003. В. 32. С. 127-142.

Гребнева И.В. Жанровый стиль Concerto grosso: генезис, константные признаки. ВісникХДАДМ. 2017. № 2. С. 94-98.

Левая Т.Н. Возрождая традиции. Жанр сопсеПю grosso в современной советской музыке. Музыка России. Сб. статей. Вып. 6. Москва, 1986. С. 156-187.

Міщенко О. Анатолій Гайденко / Давидов М.А. Історія виконавства на

народних інструментах: (Українська академічна школа). К. : НМАУ

ім. П.І. Чайковського, 2005. С. 244-245.

Тукова І.Г. Функціонування інструментальних жанровых моделей західноєвропейського бароко в українській музиці другої половини ХХ ст.: автореф. дис. ... канд. мист.: спец. 17.00.03 - Муз. мистецтво, НАМУ ім. П.І. Чайковського. Київ, 2003. 19 с.

Шабунова И.М. Оркестровая стилистика эпохи барокко в музыке ХХ века (на примере жанра concerto grosso). Проблемы музыкальной науки. 2012. N° 1. С. 226230.

References

Bentya, Yu. (2003). V. Gubarenko's Concerto grosso as an example of the modem interpretation of the Baroque. Visnyk NMAU im. P.I. Chajkovsjkogho, 32, 127-142 [in Ukrainian].

Grebneva, I. (2017). The style of the Concerto grosso genre: genesis, constant peculiarities. VisnykKhDADM, 2, 94-98 [in Ukrainian].

Levaya, T. (1986). Revival of traditions. The Concerto grosso in the contemporary soviet music. Muzyka Rossii, 156-187 [in Russian].

Mishchenko, О. (2005). Anatoliy Gaydenko / Davidov M.A. The history of performances on folk instruments (Ukrainian academic school), 244-245 [in Ukrainian].

Tukova, I. (2003). Functioning of the instrumental genre patterns of the Baroque in the Ukrainian music of the XX century. Kiev NMAU im. P.I. Chajkovsjkogho [in Ukrainian].

Shabunova, I. (2012) The orchestral stylistics of the Baroque in the music of XX c. (based on the example of the concerto grosso genre). Problemy muzykal'noj nauki, 1, 226-230 [in Russian].

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