PARATEXTUAL-INTERMEDIATE CORRELATIONS IN THE FOLKLORISTIC, CHORAL AND PIANO HERITAGE OF MYKOLA LYSENKO

Abstract

The aim of the article is to highlight the intertextual (paratextual and intermediate) relations of M. Lysenko‘s folkloristic, choral and piano creative work, to compare different genre versions originating from the initial song representations, and to clarify the interaction with ―foreign‖ thematic material.
The research methodology is based on system-analytical and structural-semantic methods, generalization method.
Also historical and culture-studies, comparative methods, method of comparison of musical texts have been applied to both: M. Lysenko‘s self-referential «editions» and his re-intonated borrowings from the Western European composers.
Result. In the relations of folkloristic, choral and piano spheres of M. Lysenko‘s creative work, self-referential, cross-genre dialogues of his own texts and additional correlations-polylogues, formed by means of combining, adding, reintoning and vocalizing music passages of F. Chopin and R. Schubert, stand out. Cross-textual dialogues and polylogues
are marked by the tendency to expand the time-space and semantic resources of the original representation (vocals and piano or choir and piano) as well as by the variety of timbre and phonic translations.
The correlations of M. Lysenko‘s folkloristic, vocal, choral and piano heritage are subject to such principles as personal and psychological motivation of the composer-performer-pianist and conductor, repertoire requests and popularizing intentions and the co-creative dialogic intention to maximally reveal the semantic and expressive potential of song sources, sometimes supplementing it with the factor of the cross-cultural polylogue. The practical significance of the article is in the possibilities of deepening the knowledge for the performance interpretation of the analyzed works of M. Lysenko for conductors, pianists, vocalists and choristers in educational and concert practice.