ANALYSIS OF M. LISENKO'S ROMANCE «PRAY, BROTHERS, PRAY!» FROM T. SHEVCHENKO'S POEM «HAYDAMAKY» - IN THE CONTEXT OF THE INSTRUMENTAL SYNTHESIS OF PIANO AND BANDURA

Abstract

Instrumental parts of dumas performed by kobzars O. Veresay, P. Bratytsya, S. Pasyuha, I. Kucherenko, G. Goncharenko, recorded by M. Lysenko and F. Kolessa, were studed. The most typical techniques of kobzar`s performance and their implantation into the piano texture of epic-dramatic romance were discovered. It is stated that the embodiment of the bandura component is best reflected in the piano parts of vocal works of the cycle «Music to Taras Shevchenko’s Kobzar». A semantic analysis of the piano party of the romance is performed. This helps to show the importance of the timbre of the bandura in the creation of new musical signs and sign systems in the work of the composer, which is a characteristic feature of M. Lysenko’s musical language.