ANALYSIS OF THE MYKOLA LASTOVETSKY’S CHORAL CYCLE «MELODIES OF SADNESS AND HOPE» ON THE WORDS BY LESYA UKRAINKA

Abstract

The choral cycle «Melodies of sadness and hope» by contemporary Ukrainian composer Mykola Lastovetsky on the words by Lesya Ukrainka is considered in the article. The structure and peculiarities of the musical language of each of the twelve compositions of the cycle are analyzed. The bibliography of the article includes books of the theorists Ya. Yakubyak and M. Lemishko concerning the analysis of musical forms and harmony. It is emphasized that the composer’s musical interpretation of the verses of the poetess is unique and original In the choral works of M. Lastovetsky several poetic priorities can be traced. In addition to works on the words by Taras Shevchenko and Ivan Franko, significant place in his creativity occupy compositions by the verses of Lesya Ukrainka. This is confirmed by two recently published compilations for female choir on the words by poetess: «Melodies of sadness and hope» (Drohobych, 2016) and «Contra spem spero!» (Drohobych, 2018). The basis of the collection «Melodies of sadness and hope» by M. Lastovetsky is the cycle of poetry «Melodies» (1893–1894). Lesya Ukrainka’s literary heritage demonstrates her extraor-dinary musicality, the musical talent, the subtle understanding of the essence of musical art. The musical interests of the poetess were formed on the basis of folk songs. The analyzed cycle consists of 12 compositions, such as «The night was quiet and dark», «Do not sing me this song», «My heart is burning», «Spring is back again», « I’m looking at the bright stars», «I was standing and listening to the spring», «I would like to become a song», «My melan-choly has gathered to the black cloud», «To the Muse» («Come to me, sweet sorceress»)», «It was a quiet night sorceress», «The ancient spring», «Victory» («I didn’t want to obey the spring for a long time»)». They are combined not only by the compositional unity, but also by a thematic development of the plot. This cycle contains features of M. Lastovetsky’s individual composer’s «handwriting»: the attraction to dramatic development, to the polyphonic texture, the tendency to expand the scale of musical form, the domination of Ukrainian folk-song melos. Each work is characterized by a sensitive embodiment of figurative content of each word, its semantic nuances, and a thoughtful choice of means of musical expression. It is the timbre of female voices with its tender, transparent, insightful sound that is associated by composer with the figurative content of poetry, its intimate character. Currently, M. Lastovetsky is the author of 29 female choral works (and a few romances) to the words of a poetess. We hope that her Muse will continue to inspire the composer.