CLARINET AS A PART OF "TROYISTA MUZYKA": IMPLANTATION OF TRADITIONAL ENSEMBLE FORMATION IN THE WORKS OF LEVKO KOLODUB

Abstract

In the article for the first time an attempt is made to compare the principles of making folk "troyista muzyka" and implanting the features of this type of ensemble performance in the field of Ukrainian academic music. The principles of authentic ensemble music making and leading spheres of structural-functional formations in traditional instrumental culture as a basis for composer's interpretation are considered. Based on a comprehensive analysis of "Troyista muzyka" by L. Kolodub, the following features of the folk instrumental tradition were revealed: clarinet acts as a soloist in the ensemble formation of "troyista muzyka"; suite construction of the series of episodes, based on which are close to folk author's and authentic regional samples of Ukrainian dance culture (arkan, kozachok, hopak, kolomyyka, march-vivat); the kaleidoscopic sequence of frames-knees is enriched with improvisational invariants with the content of ostinato rhythm formulas and "moderation"; “Visualization” of changes in dance figures and movements due to stereo effects of differentiation of parts and merging-unison sounds, melody shifts between timbre planes, duplication; imitation of folk instruments (percussion, bagpipes, bassoons, cymbals) is combined with the effects of echoes, changes in positioning, accent re-intonation of the instrumental plan, the built-in melodic line between the voices. The use of major-minor, elevated II and IV degrees, quartersecond chords generated by the linear nature of the ensemble vertical, testify in favor of the composer's deep penetration into the world of instrumental authenticity, which finds new life in the field of academic culture under the denominator of neofolklorism in the works of Levko Kolodub.