THE MUSICAL LANGUAGE OF THE CELLO SONATA BY FEDIR YAKYMENKO

Abstract

The purpose of the article. The article analyzes in detail features of the Cello sonata Op.37 by Fyodor Yakymenko (1905) and explores the artist's musical language.
The scientific novelty. Sonata for cello and piano Op. 37 by Fyodor Yakymenko has passed the attention of musicologists. In the article for the first time is carried out a comprehensive analysis of musical, expressive, formconstitutive, dramaturgical features of the composition. The ratio of ensemble instruments is outlined. The article exposes classical and romantic tendencies of the sonata.
Results. Cello Sonata Op. 37 by Fyodor Yakymenko is a vivid example of the composer's creativity. The figurative dramaturgy of the sonata develops in a number of emotional states: through the romantic sublime (Mov. I), waltz lyrics (Mov. II), to the deep contrast of the burlesque images of the finale (Mov. III). The composer skillfully combines a number of contrasting images and moods due to the masterful use of the form which he freely interprets as a three-part cycle. The artist synthesizes features of classicism and romanticism. The modification of the traditional cycle is achieved by the genre enrichment of the second part – implementation of the Valse and using the variation form in the third part. Among the dominant principles of the development of the cycle and each part it is necessary to note the kaleidoscopic comparison of various thematic constructions and their variational replication. Among the performance and technical recommendations which are aimed at a deeper understanding of the architecture and expressive features of the work several of the most difficult moments of performance should be highlighted: attention to stroke and fingering nuances of performance are emphasized.