Genre Innovations in the Fields of Romanticism: Lullaby-Berceuse and Dumka
DOI:
https://doi.org/10.31318/0130-5298.2024.50.349619Keywords:
piano culture of the Romantic era classics, Fryderyk Chopin’s work, Juliusz Zarębski’s work, Aleksander Michałowski’s work, Viktor Kosenko’s work, Ukrainian musical culture of the late 19th — first half of the 20th century, genre innovation, dumka, lullaby, BerceuseAbstract
Ukrainian musical art of the late 19th — first half of the 20th century constitutes a wide field for the application of modern scientific positions in its current understanding. In addition to the fact that there are still no detailed, documented biographies of many creative community representatives of those days, intercultural contacts (their spectrum expanding, revising the usual understanding of their essence, etc.) are no less extensive field for native scientists activity. Therefore, an attempt to comprehend some of the unpredictable ways of spreading and imitating the romantic tradition in Ukrainian musical culture, in particular through unexpected points of contact and intersection of the creative paths of Fryderyk Chopin, Juliusz Zarębski, Aleksander Michałowski and Viktor Kosenko, seems quite relevant and innovative. Returning to the native context of artists who are inextricably linked to Ukraine by circumstances of life and creativity is also becoming a ripe topic of modern research. As well as overcoming the distorted vision of many figures and phenomena of Ukrainian musical culture, in particular in the aspect of considering them outside any pan-European perspective.
Undoubtedly, it cannot be a final thorough study of all aspects of the genre renewal of instrumental music that took place in the era of Romanticism. The purpose of the proposed investigation is, first of all, to demonstrate the deep kinship and continuity of genre preferences of three representatives of different stages of that artistic preferences precisely in the stream of romantic genre differentiation, but at the same time not rejecting the nuances of the genre content in the creative situation of a particular time. The criteria for uniting the three artists, in addition to the nature of the artistic worldview, the specificity of pianism (after all, all are bright pianists-performers with a predominance of piano music in their work), the tragic circumstances of a short life, etc., may also be a connection with the Volyn region, in many aspects important for understanding the specific issues.
The research methodology is based on the application of a comprehensive interdisciplinary approach, biographical, historical-typological and comparative methods, source analysis, elements of complex musicological analysis, etc.
Findings and conclusions. The proposed study of the internal kinship and continuity of genre preferences of three representatives of different stages of Romanticism, of course, cannot be a final thorough study of all aspects of the genre renewal of instrumental music that took place in that era. However, it proves the viability of the mentioned genres, their thorough coverage of artists of the Romantic era and its continuation in the twentieth century through the figures of Aleksander Michałowski and Viktor Kosenko. The world of thought as a manifestation of the “genetic code” penetrated the work of all artists who in different ways fell into the sphere of its aura of influence, regardless of the means of expression (word, color and line, intonation, melody) and the scale of creativity — from amateurs to creators-geniuses.
References
Bilousova, Yu. V., Honcharova, H. E., Ihnatukha, L. A., Koliadenko, O. B. and Novikova, N. M., comp., 2016. Muzychnyi instrument violonchel: prohrama dlia muzychnoi shkoly, muzychnoho viddilennia pochatkovoho spetsializovanoho mystetskoho navchalnoho zakladu (shkoly estetychnoho vykhovannia) [Musical instrument cello: program for music school, music department of primary specialized art educational institution (school of aesthetic education)]. Kyiv: Derzhavnyi metodychnyi tsentr navchalnykh zakladiv kultury i mystetstv Ukrainy, 99 p.
Drobot, N. S., comp., 2007. Spetsialnyi klas violoncheli: prohrama dlia vyshchykh navchalnykh zakladiv kultury i mystetstv I-II rivniv akredytatsii [Special class of cello: program for higher educational institutions of culture and arts of I-II levels of accreditation]. Vinnytsia: Nova knyha, 36 p.
Zavialova, O., 2010. Kontsertno-virtuozna kultura ХІХ st. i tradytsii kyivskoi violonchelnoi shkoly [Concert and virtuoso culture of the 19th century and traditions of the Kyiv cello school]. Mystetstvoznavstvo Ukrainy, 11, pp.69–76.
Zavialova, O., 2014. Nimetska violonchelna shkola ХІХ st.: vykonavsko-pedahohichni aspekty [German cello school of the 19th century: performance and pedagogical aspects]. Pedahohichni nauky: teoriia, istoriia, innovatsiini tekhnolohii, 8, pp.9–22.
Sumarokova, V., 2004. Vykonavska shkola yak ob’iekt doslidzhennia: do vyznachennia poniattia [Performance school as an object of research: to define the concept]. Naukovyi visnyk Natsionalnoi muzychnoi akademii Ukrainy imeni P. I. Chaikovskoho, 40, pp.180–190.
Cherednichenko, V. I. and Semak, N. Ye., comp., 2021. Moia violonchel. Pershi desiat urokiv z pochatkivtsiamy: navchalno-metodychnyi posibnyk [My cello. The first ten lessons with beginners: a teaching and methodological manual]. Kramatorsk: Mystetska shkola, 136 p.
Becker, H. and Rynar, D., 1978. The mechanics and esthetics of violoncello playing. Wien–Leipzig: Universal Edition, 360 p.
Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, 1989. Zweite, Ausgabe. Personenteil, Band 7: Fra-Gre. München: Kassel, Barenreiter Verlag, 812 p.
Geeseman, K., 2011. The Rise and Fall of the CellistComposer of the Nineteenth Century. In: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions: treatise. Florida: Florida State University, 111 р.
Ginzburg, L., 1983. Western Violoncello Art of the 19th and 20th Centuries, Excluding Russian and Soviet Schools. Neptune City, NJ: Paganiana Publications, 384 p.
Kennaway, G. W., 2009. Cello Techniques and Performing Practices in the Nineteenth and Early Twentieth Centuries. Ph.D. in Art History. Thesis. The University of Leeds School of Music, 362 p.
Plantinga, L., 1985. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: W. W. Norton and Company, 523 p.
Raychev, E., 2003. The Virtuoso Cellist-Composers from Luigi Boccherini to David Popper: A Review of Their Lives and Works: Treatises. Florida: Florida State University, 104 р.
Straeten, E. van der., 1971. History of the violoncello, the viol da gamba, their precursors and collateral instruments; with biographies of all the most eminent players of every country. London: W. Reeves, 700 р.
Suzuki, Sh., 1978. Cello School. Vol. 5. Cello Part. Evanston, Illinos: Summy-Birchard, 38 p.
