SONG CYCLE «THE PLAY OF COLOURS» BY BOHDANA FILTS BASED ON POEMS BY SVIATOSLAV HORDYNSKYI: PRINCIPLES OF CORRELATION BETWEEN MUSIC AND WORDS

Abstract

The creative legacy of Bohdana Filts (1932-2021) clearly stands out among the Ukrainian composers of the mid 20-21 st century, who have been actively working in the chamber and vocal genre. Along with symphonic, choral, chamber and instrumental works, opera for children, a significant place in the composer's artistic heritage is occupied by solo songs and
song cycles. B. Filts Turned out to be especially successful in this genre due to her natural giftedness, melodic talent and exceptional understanding of the expressive properties of the human voice. When choosing poetic texts, the composer always paid attention to the depth of meaning, national colour and sensuality. The song cycle «The Play of Colours» (Perelyvy Barv) based on poems written by the poet Sviatoslav Hordynskyi was created in 1994 and first published in 2020.
The purpose of the article is to identify the principles of musicalisation of poems by Sviatoslav Hordynskyi as part of the song cycle «The Play of Colours» by Bohdana Filts.
The research methodology comprises certain musicological methods: the cultural-historical method was applied to uncover the history of writing vocal works based on poems by S. Hordynskyi; the musical-analytical method was used for structural and systemic analysis of the works necessary for highlighting the general features of the song cycle and individual characteristics of the particular works.
Novelty. The comprehensive analysis of the papers on the topic under research proves that only some of them contain references to the song cycle by B. Filts based on the poems by S. Hordynskyi. Therefore, the presented analysis of solo songs and the correlation between poetry and music in these works constitute a scientific novelty of this paper.
Results. The song cycle «The Play of Colours» based on poems by Sviatoslav Hordynskyi is dedicated to the composer Ihor Sonevytsky. Three solo songs comprising the cycle are marked by various moods and feelings: in some, philosophical and pictorial notes can be heard, others either resemble lullabies (folk ones, in particular) or may sound lyrical or dramatic. The composer proves to be exceptionally gifted in tone painting, making the melodic line both melodious and recitative and using the impressionistic coloring of the piano texture.
Musical techniques, used by B. Filts to highlight the poetry, subtly illustrate the meaning of the latter, and prompt a deeper understanding of the imagery and mood variations creating an internal unity of the cycle.