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.
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