ТHЕ INCARNATION OF NOSTALGIA IN THE PIANO CYCLE «LOVE» BY V. BARVINSKY

Abstract

The features of nostalgia in the piano loop «Love» by V. Barvinsky are considered. Attention is drawn to the peculiarities of the composer's style in different periods of creativity. In particular, the influence of modernism on the work of V. Barvinsky stands out. So modernist features have appeared in many of the works of the composer: Prelude h-moll, Part II from the cycle «Love», «Prelude» from «Suits to Ukrainian folk themes», «The Frog Waltz», «Preludes of the e-moll», «Fis-dur, Cis-dur», «Trio a-moll», solos «In the forest», romances «Oi luli, luli», «In the evening in the house», Sonnet «Blessing be», «Pastoral prelude to fis-moll», «Youth Quartet», «F-moll Piano Concert», romance «Moon-Prince», «In the Forest», «Oh Fields, Fields», etc. Also available for V. Barvinsky's creative method is the use of dialogue and polylogue, a kind of semantic game that manifested itself in allusions to M. Lysenko, R. Wagner, J. Puccini, K. Debussy, M. Ravel, and others like that. In addition, it refers to nostalgia as one of the characteristic features of modernism, which was particularly manifested in the art of the late XIX - early XX centuries. In music, nostalgia can be called appeals to past styles and epochs, including baroque and classicism. Thus, neo-baroque and neoclassical features are observed by composers I. Stravinsky, P. Hindemit, M. Ravel, J. Roger-Dyukas, G. Fore, D. Miyou, A. Onneger, in Ukrainian music - M. Lysenko, K. Stetsenko. Also, the article focuses on the special discovery of nostalgia in the era of the turn of the XIX-XX centuries. It turns out that for this period nostalgia was a characteristic feature that manifested itself as one of the factors of rethinking being. In particular, nostalgia was expressed in the piano cycle «Love» by V. Barvinsky as anxious for his homeland, the bride, grief for lost during the First World War, and so on.