CHAMBER SPECIFICITY OF B. FILTZ'S PIANO CYCLE «THREE PIECES ON THE THEME OF LEMKI FOLK SONGS»: GENRE-INTONATIONAL AND PERFORMANCE FEATURES
Abstract
The relevance of the of the problem proposed research lies in the study of the genre-intonation and performance features of Three Pieces on the Themes of Lemko Folk Songs by B. Filtz in the context of the chamber specificity of the cycle. The contexts of the formation of B. Filtz creative personality and the specifics of the national orientation of her work were identified. The discursive aspects of the musicological understanding of the concept of national in Ukrainian musical creativity were determined. The uniqueness of Lemko folklore, which B. Filtz took as the basis of the analyzed cycle, was revealed. The concept of cordocentrism was investigated as a key characteristic of the Ukrainian mentality. It was found that the characteristics of cordocentrism include such qualities as emotionality, heartfelt sensitivity, depth of perception, and spiritual orientation. It is proven that chordocentrism has found its embodiment in the work of many Ukrainian composers and, in particular, in the work of B. Filtz. The specificity of chamber music as a musical category is determined, which is characterized by such qualities as: rich but soft harmonic color, transparent figurative texture, intimacy of expression, sophistication of dynamic gradations, detail of presentation, laconicism, spaciousness. The genre-intonation and performance features of the analyzed work are analyzed. It is proven that the features of chamber intonation are best reproduce in the chamber specifics of the performance of “Three Pieces on the Themes of Lemko Folk Songs by B. Filtz.
The purpose of the article to reveal the chamber specificity of the piano cycle B. Filtz Three Pieces on the themes of Lemko folk songs.
The methodological basis of comprehensive methodology, which includes biographical, genre-intonation, and performance methods of analysis.
Results and conclusions. The stated problem of the study was to identify the chamber style of the analyzed work. The semantics of chamber music consists in recreating a spiritualized atmosphere of contemplation, immersion in the deep spheres of human feelings and impressions, admiration for the beauty of harmony, which requires the performer to have an appropriate pianistic manner of playing: fine detailing, soft shading, etc. The indicators of chamber music in the work Three Pieces on the Themes of
Lemko Folk Songs include the following: limited range of melody, soft harmonic color, intimacy of expression, sophistication of dynamic gradations, transparency of texture, the composer’s attention to prescribing details, laconicism, and sound spaciousness. The conducted research opens up prospects for further understanding of the specifics of chamber music in Ukrainian music.
