MUSICAL SHEVCHENKIANA IN THE WORKS OF COMPOSERS OF THE LATE 19TH – EARLY 20TH CENTURIES

Abstract

The article analyzes the vocal and choral works of composers of the late 19th–early 20th, written on the poetic texts of Taras Shevchenko. It is noted that Shevchenko's poems are difficult for musical embodiment and require composers to freely possess the means of compositional technique, as well as aesthetic taste. It is said that Galician amateur composers made a great contribution to the musical Shevchenkiana, who made a lot of efforts to popularize the poet's work and honor his memory in Galicia. In this context, O. Nyzhankivsky's solo song "Gone are the years of youth", which is one of the most valuable works in the composer's musical heritage is analysed. O. Nyzhankivsky reveals his "national face" in the song "Gone are the years of youth" through the prism of romance. At the same time, it is emphasized that the Galician composer does not seek to imitate Lysenko, as he was brought up on the achievements of Austro-German musical culture, in the field of vocal music he tends to F. Schubert and R. Schumann. It is noted that O. Nyzhankivsky refers to Shevchenko's text with "neutral" lexical material. A musical example for the composer could be Schubert's song "Warrior's foreboding" (words by L. Relshtab) from his latest cycle "Swan Song". It is stated that from a different point of view considers Shevchenko F. Kolessa, whose work is marked by the tangible influence of M. Lysenko. It is possible that his interest in folklore inspired F. Kolessa's appeal not only as a composer to Shevchenko's work, but also as a literary critic. In his works, F. Kolessa, in contrast to O. Nyzhankivsky and D. Sichynsky, refers to Shevchenko's texts, marked by a tangible folklore influence. This is evidence of the changes that took place in the musical worldview of Galician composers in the late 1880s under the influence of certain political changes and cultural contacts with representatives of sub-Russian Ukraine. However, in their musical tastes, Galician composers do not always follow the direct path of Lysenko, an example of which is the work of Henryk Topolnytsky. A special place in the work of the composer is occupied by the cantata "Khustyna" ("I did not walk on Sunday"), which is marked by the expressiveness of musical language and is one of the best examples of "finely stylized folk genre." A number of great vocal-instrumental works based on T. Shevchenko's poetic texts were created by J. Kyshakevych, in whose works one can also observe signs of a new intonation, which no longer relies on Old Galician elegy, but tends to Ukrainian lyrical, historical, Cossack marching songs and Duma recitation – a different type of musical speech, which Galicians were insuf-ficiently assimilated due to certain historical and cultural differences.