PECULIARITIES OF MYKOLA LASTOVETSKYI’S POLYPHONIC WRITING ON THE EXAMPLE OF “FIFTY POLYPHONIC PIECES-CANONS ON THE THEMES OF UKRAINIAN FOLK SONGS” FOR PIANO

Abstract

A modern Ukrainian composer, a member of the National Union of Composers of Ukraine Mykola Lastovetskyi applies the means of polyphonic writing in his works in a very unique and original way, which can be traced in all genres of his creativity. It should be emphasized that as an experienced teacher-theoretician (in particular, in polyphony) M. Lastovetskyi successfully applies knowledge from this discipline in his composing practice. An excellent example of the original using of the means of polyphonic development is “Fifty polyphonic pieces-canons on the themes of Ukrainian folk songs”, which belong to the fifth notebook “Piano Pieces for Children and Youth” (2019) by M. Lastovetskyi. This cycle has no analogues in Ukrainian music. It is exceptionally innovative, since here for the first time the canon is interpreted not only as a principle and a mean of thematic formation, but also as an autonomous form-genre of piano work, in which polyphony sublimates with an authentic folklore primal. Realizing the important need for enrichment the genres of polyphonic music on a national intonation basis, the composer turned to Ukrainian folk songs. M. Lastovetskyі interprets authentic folk song material in a new-folklore style. The characteristic features of the composer’s musical thinking and polyphonic writing include: sublimation of clear laws of polyphony and harmonic regularities of Ukrainian folk polyphony, enrichment of polyphonic development with free (additional) voices, parallelisms, octave doublings, chordal and interval duplications, development of performers’ creative inventio by applying of “endless reprises ad libitum” etc. In the analyzed cycle four types of canons can be distinguished: a polyphonic piece – a canon with an introduction; “classical” two-part canon of the full verse melody; two-part canon enriched with additional voices in the second half of the melody; the initial exposure of the canon immediately with free voices. It should be emphasized that the composer creating the canons clearly focused on the timbral, register, textural and technical features of the piano. It is important that pianists-performers more actively and consistently include in their pedagogical and concert repertoire polyphonic works of Ukrainian composers of the past and present, inspired by Ukrainian folk songs traditions.