UNKNOWN IMPRESSIONISM

Baines, Delius, Scott, Barvins`ky, Lyatoshyns`ky, Revuts`ky

This article is a distinctive echo for the book by Christopher Palmer “Impressionism in Music” (London, 1973), devoted to examination of the first modern style in music of the XX century. Why I decided to return to past? Because there are some important reasons why I should do this.

The first one and the main is a victory of December 2004 democracy elections in Ukraine – my native land, which only in 1991 has become an independent country. Until this time Ukraine was a part of the Soviet Union, a Socialist Republic, under the real pressure of Russia. Despite such circumstances Ukraine has the huge music heritage, beginning from the archaic folk songs and a sacred music to the modern computing pieces. All stylistic trends of music development were sensitively apprehended by the Ukrainian composers, having given interesting results. Unfortunately Ukrainian music yet is terra incognita in the world.

In this article my intention is to give special information about Impressionism in Ukrainian music, about its original face, composers Vasyl` Barvins`ky, Borys Lyatoshyns`ky, Lev Revuts`ky and their works.

The second reason of this article is to compare contribution to Impressionism made by Ukrainian composers and their British colleagues (Frederick Delius, William Baines, Cyril Scott) which at the same time – 1910–1920s – actively interested by ideas of this stylistic trend. Unfortunately in the above book by Christopher Palmer is absent an examination of some interesting works by Delius and absolutely is absent an analyze of pieces by Baines and Scott. So I`d like to amplify the chapter about British music just observations about some works by mentioned composers.

I`d like to give a great thank to Professor Jeremy Dibble for consultative sessions about British music given me during September 2004 in the University of Durham, England, UK. Also I must thank my dear husband, Sergiy Utkin, who has regarded with great interest and attention to my article and has helped me to provide it by corresponding music examples.

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BAINESWilliam Baines has lived a very short life (1899–1922), having made some

interesting contribution to Impressionism in the British music. A situation around his name has arisen interesting because Baines was a provincial musician (he was born in Horbury, Yorkshire and there in York so early died) but he has achieved to a considerable extent of national recognition in that time. Baines` formation as a musician has begun in a musical atmosphere in his family: the father of the future composer was a chapel organist and a cinema pianist. The first Baines` professional experience was playing in a cinema where he demonstrated a great success in improvisation. To the opinion by Fiona Richards, this experience has clearly affected on the improvisational character of his works1. The next step was a professional study of composition at the Yorkshire Training College of Music in Leeds. His special interest to works by Scriabin has been ensured by access to J.E. Kennedy`s complete library of piano music and by possibility to study the peculiarities of his style in detail. From 1919 he began to establish himself as a solo performer, playing the modern compositions by Ireland, Bridge, Debussy, Ravel and also his own ones. Baines has began to enjoy a wide popularity, the publishers accepted a number of his pieces for publication, there appeared many favourable reviews of his concerts. The outstanding in Europe pianist Frederick Dawson (1868–1940, for origin from Leeds), having interested by Baines` works, actively was including them to his own programs since 1920 until his death.

Mainly his interests were connected with piano music since Baines was pianist, and “the piano remained his natural medium of expression”2. I`d like to add, it has been the special laboratory of forming personal manner (unfortunately it has not flourish in full measure through early death of the composer), where was appreciable aspect of Chopin, Scriabin, Debussy experience. Next I examine some pieces by Baines where the features of Impressionism manifest themselves very clearly and originally.

“Paradise Gardens” (1918–1919). It is a large composition in single movement where a traditional idea of a complex ternary reprise form has been kept. The peculiarity is a principle of repetition which penetrating inside of this construction sections unites some contrasting episodes:

A B A1 Lento Con brio A tempo Vivace agitato Tempo I a+a1 b c d c1 d1 a+a2+c+a In this case the opinion by Roger Carpenter is correct:

He possessed an inherent feeling for logical rhapsodic construction lending coherence to a string of seemingly unrelated episodes; to this is allied a very fine sense of climax3.

1 Fiona Richards, `William Baines and His Circle`, The Musical Times, cxxx (1989), 460.2 Roger Carpenter, Annotation to disc, William Baines. Piano music (Lyrita Recorded Edition, England, 1972).3 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 77.

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In this composition the texture is as main expressive means. Here is used a spatial effect (which is typical feature for Impressionism), in particular in sections A and A1: introducing three staves the author puts apart every of three these layers of texture. The peculiarity of theme a is its chord design on the both upper layers, corresponding with ostinato in the bass voice (on the perfect fifth). (Ex.1)

Ex. 1  William Baines, Paradise Gardens, bars 1–8

Impressionistic texture also is inherent to theme c which consists of continuous chords in the lower layer and the melody in two octaves unisons (it is based on the motion from the major second and jumps on the perfect fourth which remains an effect of echo in a forest or in mountains), placed in the upper one. Besides music free moving has being achieved by composer`s desire to move behind metrical stereotyped pattern, in this case melody in 6

8 metre is stated by the syncopes. (Ex.2)

Ex. 2  William Baines, Paradise Gardens, page 6, bars 1–4 of theme c

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In “Paradise Gardens” Baines has used some examples of colouring harmony: in section a is a dominant major ninth chord (bar 8); in section b is the second inversion of the seventh chord with flatten fifth is as a base of figuration which is similar to Scriabin`s images of ecstasy; final chord is presented by eleventh chord with sixth without resolution. (Ex.3)

Ex. 3  William Baines, Paradise Gardens, page 4, bars 1–3

Principally an idea of Impressionism for Baines signified a principle of static character in music created by an absence of striking contrasts (in traditional understanding of this word). I mean it was connected with composer`s desire to reflect his personal impressions of the chosen pictures of nature at ones as a whole. Revealing example of such attitude is a composition “Labyrinth (A Deep Sea Cave)” from the series “Silverpoints” (1920–1921). Roger Carpenter affirms that in this piece the harmonic influence of Debussy is strong4. Here we meet a favourite image by impressionists of mysterious underwater kingdom hidden under mighty a lot of water. During the whole piece its static character is attained by immutable figure, oscillating in upper voice, in slow tempo5. On this 4 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 102.5 An idea of ostinato technique in the kind of a pedal point or of the repetition of phrases was a very characteristic feature for Baines` style (Ibid., 80). As is generally known this device was often used by impressionists for both

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background the part of lower layer texture is a matter of bearer of the thematic idea: it means ascending octave tunes which are forming a factor of a structure (a simple binary form) and in a culmination are turning into two descending remarks, the last of them has features of a whole-tone scale. (Ex.4a, 4b)

Ex. 4a  William Baines, Labyrinth, bars 1–10

Ex. 4 b  William Baines, Labyrinth, page 3, culmination bars

We can observe similar solution in “Twilight Woods – a fragment” from the series “Twilight Pieces” (1921). Baines presents his impression of a dreamy

static character and spatial effect.

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image of wood, which stands in change to sleep. It doesn`t sleep yet but does no longer rustle, only sometimes a bird would respond or tops of the trees slightly would oscillate. A static mood is created by permanently incomplete tonic (a minor) triad with fourth repeating in a lower layer of a texture. Such evading of the third degree as the index of tonality passes the main role from clear functionality to phonic effect of chord a–d–e. During the piece this chord enriches by superposition of the incomplete second triad, the major triad of subdominant, the incomplete triad of dominant. Melodic basis utterly submits to texture: it means that melodic tunes were born in textural embroidering and in the same place dissolve. There are also some imitations of the bird`s warbles – the tunes with a grace-note, with triplet, and with jumps on the wide intervals. Here is absent a typical contrast because period form using does not foresee it. (Ex.5)Ex. 5  William Baines, Twilight Woods

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In the piece “The Lone Wreck” from the series “Tides” (1920–1921) Baines proposes an image of his favourite marine subjects: lone wreck lies on a shore, washed by sea waves sometimes less sometimes more. Despite of a simple binary form (a+a1+a2+a3) clearness here is kept an idea of a static character in a music flow. The texture as a leading means consists of three layers, the first one is a permanent tonic octave in a bass, the second (middle) one is an arpeggio principally based on the tonic triad (es-moll), the third (upper) one is a melody constructed by short tunes where occasionally is employed the VI Dorian degree. (Ex.6)

Ex. 6  William Baines, The Lone Wreck

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Tendency to colouring of harmony is appreciable in last chord of the piece – a secondary seventh chord with a major seventh on the tonic bass. Carpenter considers Baines` treatment of the compositions endings as the most individual of all the hallmarks of his style6.

“Prelude № 5” from the series “Seven Preludes” (1919) is extremely significant example of an impressionistic style in the works by Baines. Its subtitle “Poppies gleaming in the moonlight” point-blank has something in common with music images by Debussy (e.g., piano preludes № 4 “Les sons et les parfums tournent dans l`air du soir”, № 19 “La terrasse des audiences du clair de lune”). Here we can see the same desire to express a personal impression of unusual, rather mysterious picture where a dreamy atmosphere of a moon night animating the usual flowers turns them into fantastical creatures. Roger Carpenter proposing another elucidation for this image, also notes that “atmosphere is extraordinarily brought out by the sense of colour”:

The swirling harmony of № 5 … alternates between the keys of F sharp and F, the opiate warmth of F sharp suggesting the red hue of the poppies, and the cooler F major the silvery moonlight7.

From the point of view of the image realization it was in a full measure a mature work where the impressionistic means manifest themselves in concentrated condition. First of all the structure of Prelude demonstrates an idea of tune germination in a ternary form (a + a1)(b + b1)a2. The tune from the theme a (bar 6) will be in the theme b1, the intonations from theme b will be in theme b1, the last tune from theme a will be on the joints of the form – after a1, b1, a2 (and inside of it).

The harmony and texture aspects are the next important means of an impressionistic mood in this piece. Sometimes Baines creates an effect of permanent moving, of mutability using chords without resolution. So in the introduction there is a figuration, based on the seventh chord with flattened fifth. Then the theme a appears from this figuration where there are secondary seventh chord with minor third, then the third inversion of the seventh chord and resolution in d minor. The main colouring feature of the theme a1 is a pentatonic scale as the foundation of a figurative line. The same colouring effect is on the joint between the themes b1 and a2: the dominant ninth chord to F major and instead of resolution here is used the secondary seventh chord with minor third on eis (enharmonic equivalent f). The last chord of Prelude is the F major triad with sixth accentuated by its position as a syncope sound and at the same time as the main sound of a tune. (Ex.7a, 7b, 7c)

6 Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977), 81.7 Ibid, 101.

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Ex. 7 a  William Baines, Prelude No. 5, theme a

Ex. 7 b  William Baines, Prelude No. 5, theme b

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Ex. 7 c  William Baines, Prelude No. 5, the final bars

Thus some Baines` piano works demonstrate active interest in Impressionism beginning from subjects (non-traditional vision of nature pictures, of marine element, fantastic images, hearing phenomena) until the special music devices as a structure, a texture, a harmony, a melody, modal and rhythm peculiarities for creation of such subjects.

DELIUS“Three Preludes” (1923) for piano by F. Delius have been written at the

end of his late period works (as it is generally known actually this period finished in 1925) and these preludes have represented Delius’ attitude to Impressionism in genre of a chamber miniature (in this case for solo piano) which wasn`t wide-

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spread among other genres in this composer`s works. That’s why “Preludes” have remained in a shadow of his picturesque tone poems for an orchestra for many truly charmed by them Delius` biographers.

In “Prelude I” we can observe an interesting result of the form construction. Here the composer destructs traditional (classical) sense of this notion, proposing instead of this an idea of a tune germination. Beginning from a long demonstrating of the tune consisted of quaver with a point, semiquaver and quaver, then the author introduces a new one which later would became a main material of a music flow. (Ex.8)

Ex. 8 Frederick Delius, Prelude No. 1, bars 9–11

Despite of a traditional period form “Prelude III” also has structure peculiarities in sense of Impressionism. So the first sentence, consisted of four elements a + a1 + a2 + a3, is based every time on renovating tune a. (Ex.9)

Ex. 9  Frederick Delius, Prelude No. 3

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Apparently at the second time an upper line of a tune is identical to the first one but a lower line has a little change. At the third time an idea of a change touches the tune upper line too and at last at the fourth time the tune appears more broadened (five bars) for formation of a cadenca. This kind of the thematic development creates an effect of changeability similar as on the pictures by impressionists where a change of light and shadow is a distinguishing feature.

In many respects a vivid character of the “Preludes” attains with a help of the Delius’ harmonic language and his attitude to a modal system. For example, in “Prelude II” in the upper texture line the basis of figurations is represented by inverted secondary seventh chord with minor third and with fourth without

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resolution (it’s typically for Impressionism). Besides in lower line as we can see there is a rare whole-tone scale, which gives colourful effect too. (Ex.10)

Ex. 10  Frederick Delius, Prelude No. 2

It is revealing how Delius interpretes a final tonic in every of these pieces. At the first one he demonstrates a phenomenon of be-tonality – superposition of relative keys D major and h minor. The ending tonical chord of “Prelude II” is a secondary seventh chord with major seventh. In the “Prelude III” Delius has used compound sound complex: major triad (D) + complex from two perfect fourthes (f–h–e). (Ex.11a, 11b, 11c)

Ex. 11a  Frederick Delius, Prelude No. 1, the final bars

Ex. 11b  Frederick Delius, Prelude No. 2, the final bars

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Ex. 11c  Frederick Delius, Prelude No. 3, the final bars

A desire to put on the first place an effect of colourfulness forces out an idea of development (in traditional sense). In particular “Prelude II” (where the features of ternary form are represented brightly) gives an interesting realization of a contrast problem: the second section of the piece as a matter of fact displays only a change of tonalities E major – D major – E major – d minor — H major without any other peculiarities. (Ex.12)

Ex. 12  Frederick Delius, Prelude No. 2, bars 13–18

Thus, in the “Preludes” Delius has given for us a real possibility to examine the manifestations of Impressionism as a music style. Christopher Palmer considered that

…exposure to the Impressionist aesthetics played a large part in the crystallisation of his individual style, above all with regard to his concept of harmony. Debussy and Delius may have differed greatly in their respective harmonic techniques, but the principle of emancipated discord, with unconditional repeal of all lows relating to preparation and resolution, formed the point de départ for both of them. Delius would have been receptive to such procedures both as result of his own practical experiments at the keyboard and though his great love to Grieg8.

8 Christopher Palmer, Delius: Portrait of a Cosmopolitan (Duckworth, 1976), 19.

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SCOTTCyril Scott (1879–1970) has left sufficiently a large heritage for the future

generations. In most cases the attitude to his works was critical and unfortunately continues to remain the similar, balancing between a stamp “the English Debussy” and a sort of the phrases “his impressionistic pieces uninformed by any genuine impressionist sensibility”9, “despite many original effects their emotional range rarely exceeds that of the Lyric Pieces and songs by Grieg” or “as a harmonist he was original, but he failed to establish that extra elusive emotional dimension whereby Debussy was enabled to call into play whole areas of feeling which transcended the mere moment”10. Yet there are no modern special monographs dedicated to Scott and to detailed investigation of his music where would be appreciated his place in a history of the British music in it`s true value. So, analyzing some pieces by Scott I`d like to give a little trait to a music portrait of this composer-modernist.

A piano piece “Carillon” from the early period of the works by Scott is composed in a variation form on soprano ostinato. Its static character is conditioned by immutability of the monophonic theme which inside is immutable saved from the contrasts: it`s built by three times repetition of equal quavers tune without semitone gravity, the conclusive element based on the semiquavers stops on the V degree. In the first variation the theme is made thicker by perfect fifths and fourths, by a major triad. Here at the first time the bass appears in a kind of the perfect fifths series. In the second variation the melody is transported on the octave upper and represented by sixth and fourth chords. The bass voice is ground on the perfect fifths and fourth chords too. In the third variation we can observe a clear tonal situation – dominant to key F major: the melody is similar to previous one11 but with added sound b, the bass layer moves by C major and a minor triads, widely disposed. (Ex.13)

Ex. 13  Cyril Scott, Carillon, the 2, 3 variations

9 Christopher Palmer, `Cyril Scott: Centenary Reflections`, The Musical Times, cxx (1979), 740.10 Christopher Palmer, Impressionism in Music (London, 1973), 161.11 From the point of view of a texture the variations form the groups consisted of two ones – 2+3 4+5 6+7 8+9 10+11.

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In the 4th variation the melody has been transfered from upper layer to the bass where its first element is repeated four times and during the last one in upper layer there is a superposition of the second element. The 5th variation is similar to previous one but differs from it by only less massive upper layer (the perfect fifths and fourths with added tones). The 6th variation possesses more tense saturated character: the melody is made thicker and represented by the sixth and the fourth chords, returns in upper layer, containing chromaticism es–e; the bass voice becomes more complicate by the seventh chords and their inversion (in the 7th

variation). The following variations, the 8th and 9th bring a very interesting phonic effect: a change of distant keys C major to G flat major (tritone correlation). The 10th and 11th variations return the main key C major.

“Danse Langoureuse” op. 74 № 3. First of all here there is an interesting interpretation of a structure. The features of a simple ternary form are veiled by presence of two elements, based on the same thematic idea but contrasted in a mood. The first of them is a mystic, rather stranger in a character: on the ostinato figure background with d flat (Mixolydian mode) in upper layer, the tune is in the middle layer and in bass there is the tonic triad (E flat major) which at once changes to E. The second one is an ecstatic: the tune by octaves and accented on a thesis d flat carries out in upper layer, accompanied by the figurations of a clear functional property (a traditional romantic texture). (Ex.14a, 14b)

Ex. 14a  Cyril Scott, Danse Langoureuse, the 1st tune

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Ex. 14b  Cyril Scott, Danse Langoureuse, the 2nd tune

The second section of the form does not bring a principal (thematic) contrast but only a tonal change (G major) of both tunes. Thus the author reaches an effect of renovation both in a structure (in the middle section) and in a tune.

“Solemn Danse” op.75 № 3. This piece has brightly expressed an impressionistic manner. A free flow of solemn character music is achieved by an irregular measure:

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Theme a 78

58

198

78

58

78

58

48

58

48

Theme b78

88

198

34

78

48

98

78

24

The theme c is more “real”44

78

24

78

34

38

24

34

24

54

44

The texture completely fulfils a thematic function, moving by parallel seventh and ninth chords chains without division on a melody and on accompaniment. As striking detail of a sound space expansion Scott uses the organ-points in the theme b and in the development of theme c. (Ex.15a, 15b, 15c)

Ex. 15a  Cyril Scott, Solemn Danse, the theme a

Ex. 15b  Cyril Scott, Solemn Danse, the theme b

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Ex. 15c  Cyril Scott, Solemn Danse, the theme c

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For a character and rhythmical peculiarities “Dance” reminds the “Pavane” by Ravel, I mean, the similar creative interpretation, re-understanding of an old genre. I would like to mark out a special effect, I would call it “a colouring of recognizing”. It is presented three times in the cadences of the theme b. Accordingly when the times 3

4 4

8 24 a thesis coincides with traditional stress of the

tune elements. When the times 48

24 the cadences are represented by the chords of

dominant with suspension in the upper voice. When the time 34 the logic of

functional inclination is broken: DD2 – D43 – tonic bass with superposition of the

dominant seventh chord with sixth on the fourth degree. A similar situation is in a cadence of the theme a: when the times 4

858

58

48 a thesis coincides with the main

tune sounds. The theme c is more “strong” by the same coincidence, by appearance of the iambic tunes in the following development and by symmetry in the texture (centrifugal and non-centrifugal moving of the voices). At the beginning of the theme c superposition of triads B flat major and g minor gives a colouring effect too by using the whole-tone scale elements.

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BARVINS`KYVasyl` Barvins`ky (1888, Ternopil` – 1963, L`viv) – Ukrainian composer, pianist, musicologist, teacher.

Doctor of Musicology (1940). Honored Doctor of Ukrainian University in Prague (1938). He studied piano in Music School of K. Mikuli under M. Jashek-Soltysova, V. Kvasnyts`ki, P. Bernats`ka (1895–1905), W. Kurts (1905–06) in L`viv. At the same time he studied low in L`viv University, since 1907 – philosophy in Karlowy University (Prague). He has completed Prague Conservatory (in 1911 piano under I. Goldfeld, in 1914 composition under V.Novak). During 1911–14 Barvins`ky worked in Prague. His first composer`s concert was organized here (1913). Since 1914 he lived in L`viv; during 1915–39 he was a professor and a director of the Lysenko Higher Music Institute. He worked actively in the Union of Ukrainian Professional Musicians (a special organization in Western Ukraine of 1930s) as one of its founders (in 1934) and as a Head of it (1936–39). In 1920s he had given concerts in the cities of Western Ukraine together with singers A. Krushel`nyts`ka, M. Mentsyns`ky, O. Ljubych-Parahonyak, R.Ljubynets`kyj, violinist Je. Perfets`kyj. During 1928–29 with cellist B. Berezhnyts`ky he performed in Kyiv, Kharkiv, Odesa, Dnipropetrovs`k. In 1939–41, 1944–48 he was a professor and a director of L`viv Conservatory. In 1948 Barvins`ky was injusticely repressed by Stalin totalitarian regime for ten years in the camps of Mordva. After exile, in 1958 brokened morally and physically he had returned to Ukraine. Till the end of his life Barvins`ky revived from memory his scores which had been burned while he was in exile. After his death his works have been forgotten until the end of 1980s. Beginnig from 1990s, his name and works have been returned from oblivion thanks to processes of national renascence and to active work of musicologist, professor Stefania Pavlyshyn,

As a composer Barvins`ky has formed himself in the Prague school, studing composition under V. Novak from whom adopted Czech national tradition – combination of the national music peculiarities with achievements of modern age12. Just impressionistic works Barvins`ky has written during his training in Prague (1907–1915). So Impressionism for him was one of the components in a process of individual manner crystallization.

Among the works of this period where the features of Impressionism show themselves the most brightly are: the child piece for piano “Frog Valse”, the preludes for piano in e minor, in F sharp major, “Improvisation” (part of piano cycle), the romance “In Wood”, trio in a minor (second part). In list of these works we can notice two characteristic traits: for one thing the compositions of an impressionistic manner are found side by side with the pieces of other, romantic trend, not infrequently united with them in one cycle; for other thing, in these works are absent program titles (with an exception of “Frog Valse”). And in such case there was manifested originality of the artist, for whom genre determination of clear instrumental music is self-sufficient and does not demand a non-musical explanations.

An analyze of these works shows a peculiarity of impressionistic features manifestation in Barvins`ky`s individual style: special admiring by transparent, pure, gentle colours which one can see in modal thinking, harmony, in selection of the texture means.

Pastoral “Prelude” in F sharp major (1908) is full of impressionistic colour thanks to non-semitone ground of the melodic patterns, a little “irreal” smack of key F sharp major, a phonic effect in rhythmic aspect clear organized background (favouring by colours of intervals major triad, perfect fourth, major second). (Ex.16)

12 Stefania Pavlyshyn, Vasyl` Barvins`ky (Kyiv, 1990; in Ukrainian), 82.

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Ex. 16 Vasyl’ Barvins’ky, Prelude in F sharp major

In “Improvisation” (1911) delicate, weightless figurations, enveloping range from A1 to a, give an spatial effect in a sound substance. On their background there blazes up the iambic tunes as alone fireflies. They are interesting from the point of view of colouring: mainly it is a combination of two parallel major triads, diminished and minor triads, the third inversion of a secondary seventh chord with minor third and major triads (without functional connection). (Ex.17)

Ex. 17 Vasyl’ Barvins’ky, Improvisation

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Among compositions inspired by impressionistic contemplation there is distinguished romance “In Wood” (poem by B. Lepkyj, 1910). Already in the poem we can observe the features of Impressionism: the description of an autumnal wood is countervail, devoided of perceptible effort13. Despite of its psychological implication, expressed in the lines of last stanza, harmony of nature is not broken: “Behind the clouds sun sits down, calm and silence is around”. This image has been stressed also by the composer, who repeated the words “calm”, “silence” at the end of the romance. According to this here appears an interesting correlation between a vocal and an instrumental parts where the first one (personification of subjective idea) conceals itself as implication in the second one. Its melodic line surrounded by luxurious textural “embroidering”, looses its expression and tension of development; in last section it even stops on the one sound and dissolves in “ the wood calls”, based on perfect fourths. (Ex.18, 19)

Ex. 18 Vasyl’ Barvins’ky, Romance “In Wood”, the first section

13 As evening time will come And twilight will be in the window Some unforgettable reminiscence Will come to me at moment that… Incomplete and awkward picture, From time has turned so gray and faded, It seems that a painter wasn`t subtle enough To draw the image that.

On picture the hazel is depicted, Old oaks are standing here and there, Narrow and overgrown path winds Between roots through felling. Winds of autumn have torn away Leaves faded, turned yellow. Last flowers have dried up out, Last traces disappeared.

What does seek in wood So sad, as autumn, girl? Behind the clouds sun sits down, Calm and silence is around. (Free translation by the author of the article).

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Ex. 19 Vasyl’ Barvins’ky, Romance “In Wood”, the last section

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In the romance there is an interesting interpretation of a tonal center, fulfilled by superposition of e minor (t) and A major (S major, VI degree of Dorian mode) triads. Thus a tonal center has turned into consolidated for appointed register harmonic colour with the tones of chord specific accommodation, where there are accentuated “empty” perfect fifth and changeable twinkling of succession consisted of major triads. All these circumstances strengthen perception of a tonal center as a timbre-harmonic colour.

From the point of view of the modal peculiarities there is revealing weakening of functional connections14. First of all it`s underlined by avoidance of VII sharp degree and by authentic cadence, involving of “a modal addition”15

principle, or poly-modality – within the bounds of the one scale – modal transitions as game of light and shadow. (Ex.20)

Ex. 20 Vasyl’ Barvins’ky, Romance “In Wood”, from the first section

14 At the first time the diatonic and pentatonic features in piano part of this romance as impressionistic means have been paid attention by S. Pavlyshyn. See Idem, “Vasyl` Oleksandrovych Barvins`ky”, Ukrainian musicology, 3 (1968; in Ukrainian), 139.15 Edison Denisov, `About Some Peculiarities of Claude Debussy` Manner`, Modern Music and Problems of Composer`s Technique (Moscow, 1986; in Russian), 94.

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Texture of the romance is very important means: here there are integrated harmony, rhythm, register layers. Two textural images have arised through that: fluctuating textural ostinato based on fifth with gentle parallel steps of the triads, the chords of sixth (1st section), and transparent streams of the figurations remembering images of “water game” (Ex.21),

Ex. 21 Vasyl’ Barvins’ky, Romance “In Wood”, the second section

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which dissolve inside hardly marked dramatic character and draw a veil over culmination (on the words “Last flowers have dried up out”). However, an idea of a form in Barvins`ky`s individual manner remains in a classic tradition: a ternary form dominates both in “Prelude” in F sharp major and in a romance “In Wood”.

Clearness of an arch form construction is inherent in the second part of Trio in a minor for piano, violin and cello (1910). Despite of this a sphere of the images carries to a listener poetical character of an idyllic picture which obliges so much to impressionistic direction of the means. At the beginning unisonous melody in the violin and in the cello parts is a delicate, indistinct image of a dream; its outlines sometimes hardly appears, sometimes disappears. Such impression has formed owing to the theme peculiarities16 – descending motion from the VI to the II degree (emphases of plagal correlation), non-semitone base and an effect of “echo” on the intonation of “the wood calls”. (Ex.22)

Ex. 22 Vasyl’ Barvins’ky, Trio in a minor, the first section

16 In Trio there was used a principle of monothematics following that intonation similar to themes have different image-bearing significance: the intonations of folk origin give to the theme firstly the epic features of the duma`s tune then march activity of historic songs (in the 1st part), also the theme intonations appears in the final kolomyika (the Carpathian-Ukrainian folk dance).

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First the theme in piano part is presented as a series of the chords of sixth, and here the harmony only thickens a melodic line (concentration of the theme). Then, despite of tempo and rhythmical liveliness the theme does not loose its objective meditative character. In reprise part of section A (figure 2, bars 7–10) we can see tonal “unity” of all components in F major. The theme does not come out from circle of a pentatonic scale, reaches to special calm and depth (octave caper in violin part, its broadened range; figure of “vibration” in cello part; a choral texture and prolonged admiring by tonic in piano part). Also in Trio there is noticeable tendency to weakening of functional logic by stress of harmonic colouring. For example, at the beginning of section B (figure 3) the tonic looses its “mighty” power owing to placing on the arsis. All attention is concentrated on the second chord (on the thesis), “coloured” by sixth (triad G major with sixth). So in the 2nd

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part of Trio in a minor equally there interact the features of Romanticism (song character of tunes, tonal comparison in third of sections F–D–h–D–F) and Impressionism (colouring of harmony, the phonic effects, non-semitone base of the theme A).

In the piece “Frog Valse” (1910) Barvins`ky has used clusters (introduction, coda) in rare, fresh for timbre effect tonality G flat major. Together with special means of phonation (a right hand plays by fist double appoggiaturas, passages glissando) it creates a humorous fantastic image.

Somewhat separately in the series of mentioned works there is “Prelude” in e minor. It is as an original mirror of young composer`s intensive searches in which all spectrum of his passions since that time had been reflected. Here are heard an echo of Ukrainian folk songs, of Scriabin`s ecstasy climaxes (bars 47–57), and beside there is an impressionistic refinement of music images. Simultaneously this “Prelude” gives a key for comprehension of next composer`s works development. Transparent, songful (like to a folk song) melody of the piece at once is represented in uncommon textural design: harmonization by chords of the sixth, occasionally by seventh chords, in upper register melody is represented by octaves – all these live, “breath” by boundless space. (Ex.23)

Ex. 23 Vasyl’ Barvins’ky, Prelude in e minor, the first section

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From a modal point of view a modal change-ability in coda e minor – G major (genetically originated from Ukrainian folk songs) is connected at the same time substance what gives an effect of be-functionality. So first and foremost here there is its phonic characteristics.

However in the presence of general impressionistic organization of a music texture (broadening of the special bounders on the four staves, colouring logic of tonal poking, the ellipses, variety of the point pedals) (Ex.24)

Ex. 24 Vasyl’ Barvins’ky, Prelude in e minor, the middle section (bars 35–36, 42–43, 46–47)

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there is an important theme ending for the first time. It is as though “alien body” owing to its textural design: after solemn, majestic chord massif consisted of some layers there is folk supporting-voice “embroidery” of the separate lines. From the one hand there is a peculiar symbol, indication of a folk prototype by which the theme has been evoked. From the other hand the composer, having united these two different textural layers in the bounders of one theme, successively having confronted them, obviously feels (and allows to listener to understand that) their incompatibility: in next time supporting-voice ending of the theme is “cut off” as like something that does not blend with general development of an image. Just here a key is concealed for comprehension of Barvins`ky next creative development: if in this “Prelude” mentioned contradiction is decided in favour for Impressionism, then later the composer resolutely returns in contrary direction. He aspires to connect organically his own individual manner with the folklore sources. In composer`s consciousness a folk song certainly appears in concrete fact of its living existence, that is connected with this or that character texture (in particular, supporting-voice in choral singing). So, support on the folklore base in imagination of Barvins`ky comes into a conflict with the textural models, formed

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by Impressionism. Just by this we can explain Barvins`ky` refusal from the impressionistic means in his next works. It should be noted that impressionistic experience of early works did not pass without leaving a trace: a music facture in the works of last period was enriched by fresh harmonic details and original phonic effects.

LYATOSHYNS`KYBorys Lyatoshyns`ky (1894, Zhytomyr – 1968, Kyiv) – Ukrainian composer, conductor, teacher. He has

graduated Kyiv University (1918), at the same time he has been studing composition under Reingold Glier in Kyiv Conservatory (graduated 1919). After the Second World War he worked as a professor of composition at the above conservatory. He is one of the founders of the modern Ukrainian composer`s school (he tought such composers as Valentyn Silvestrov, Leonid Hrabovs`ky, Myroslav Skoryk, Lesya Dychko, Ivan Karabyts` and others). He has written two operas, five symphonies, three poems for symphony orchestra, works for chamber ensembles, pieces for piano, romances, arrangements of folk songs.

Lyatoshyns`ky studied composition under Reingold Glier in Kyiv Conservatory and I think that his early, student works yet are full of Russian composers influence – Borodin, Glazunov, Tchaikovsky, Rakhmaninov, Scriabin because their music occupied dominating place in concert programs. Their creative manners were very popular example for imitation at that time. At the end of Lyatoshyns`ky`s studying in his first symphony we can feel Scriabin`s influence17 (not in ideological direction but only in affecting on sound peculiarities). This work became a turning-point in Lyatoshyns`ky`s development who from the beginning of the 20s gradually has been gotten free himself from alien influences and started demonstrating peculiar author`s manner.

Active Lyatoshyns`ky`s participation in work of AMM18 was an important catalyst in a process of crystallization of his individual music language19. A range of Lyatoshyns`ky`s music images changes: here expressive and very tense passions occupy the main place, they are brought together in critical contradiction, sometimes in antagonism.

Correspondingly his music language experiences radical renewal. Instead of diatonicism the composer “appeals to chromatising of modal systems”20, through which in some works of this period a tonal center actually is absent or disguised. The base of harmony is not formed of triads but it`s formed of seventh chords, ninth chords, chords of non-triad structure, compound sound complexes consisted of several layers. Accordingly a melodic line became more broken and tense, acquired sharp contours. For its interval structure there are typical jumps on the tritone, major seventh, major and minor ninth. In general in the 20s Lyatoshyns`ky`s style has drawn together with Expressionism although without

17 It is obvious that this influence has happened through Lyatoshyns`ky`s teacher Glier whose imitation of the Scriabin`s manner was an expressive style component. In 1910 Glier graduated Moscow Conservatory and his stay in a music athmosphere of Moscow was a determinant in that aspect.18 Assosiation of Modern Music was founded as a section of the International Society of Modern Music in Moscow (1924), a branch of it in Leningrad (1926). There was an organization for popularization of modern music. It organized concerts, published the journal “Sovietskaya muzyka” (1924–1929). It`s members were composers Aleksandrov, Asafiev, Miaskovsky, Feinberg, Shostakovich. It has ceased its activity soon after 1931. 19 History of Ukrainian Music, 4 (Kyiv, 1992; in Ukrainian), 445.20 Victor Samokhvalov, Borys Lyatoshyns`ky (Kyiv, 1972; in Ukrainian), 12.

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extreme manifestation (exaggeration of horror pictures or the passions of powerless obedience to faith).

At the same time we can observe a tendency to impressionistic strivings in the works of 1922–1926s. They are naturally blended in general situation of the 1920s Lyatoshyns`ky`s works, thus here was shown peculiarity of Impressionism principles interpretation by composer. In my opinion next works concern to Impressionism. There are circle “Moon Shadows” – four romances op. 9 (1923, poems by Verlaine, Sievierianin, Balmonte, Wild), Two romances op. 10 “My dreams in loneliness fade”, “Moon” (1924, poems by Shelley in translation by Balmonte), romance “Ozymandia” op. 15 (1924, poem by Shelley in translation by Balmonte). Partly impressionistic signs are retraced in compositions for chamber ensemble: Quartette № 2 op. 4 for strings (1922), piano circle “Reflections” op. 16 (1925), Sonata for violin and piano op. 19 (1926).

The vocal music was the most significant for impressionistic world-perception so far as here the selection of poetical texts already clears and specifies the images which are interesting for the composer. Here is peculiar a range of chosen poets: Lyatoshyns`ky is attracted by Russian symbolists and foreign masters in translation of the same symbolists. Among them the most intimate for him was Percy Bysshe Shelley with his expressive aestheticism in attitude to the world, irreproachably finished poetical form and delicate melody of a verse accentuated in translation by Balmonte.

The main “hero” of two cycles op. 9, 10 is a moon and poetry of a moonlight night – an image depicted with love by Debussy (“Moonlight”, “Moonlight night”). For the realization of this image Lyatoshyns`ky discovers his own unique colours, which has become typical for his world-perception. Every time there are given different textural design and interesting sound complexes (from the point of view of the phonic effects) in the romances from circle “Moon Shadows”. In № 1 “And Moon is White” (written in a ternary form) the texture of piano part consists of two layers which moves to meet each other: the lower one by delicate jumps-“swining” (a distance of wide intervals – tenth, sixth) is rising by the tones of a dominant seventh chord, and the upper one, based on the augmented triad, little by little is sliping down. Refinement of the texture is amplified with its poly-rythmic organization: quadruplet as a base of the lower layer, sextolet – of the upper one, triplet is in the vocal part. (Ex.25)

Ex. 25 Borys Lyatoshyns`ky, “And Moon is White”

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The accentuated in the right hand part augmented triad is a leading harmonic colour of this textural complex; it is a harmonic base of both vocal melody and bass voice. As it is obvious from a given example, sometimes a vertical line is enriched by appearance of the secondary seventh or the ninth chords with third and major seventh (bars 2–3).

The borders between form sections Lyatoshyns`ky marks by textural and harmony means. A transition to second section is realized through an ascending in the upper register a chain of the parallel triads. Intonation peculiarities of this sequence (one link – two major triads on the distance semitone – is connected with similar one through major triad etc.) in whole with metrical and rhythmical peculiarities (4

4 and 24 as a desire to unite all motion, united by the triplet groups)

create an impression of some illusion, unreality of a sound facture.The middle section of this romance, contrasting with last one, has its

peculiar textural and harmonic design, that is emphasized by some flexibility, freedom of measure (4

4; 54; 4

4; 34; 4

4; 24;

44). But contrary motion of both layers in the

piano part makes it related with set off parts. Here a secondary seventh chord with major seventh is a harmonic base. Its register disposition, including large space, accentuates ethereality, weightlessness of sounding. Chord complex breaks down on two elements: the chords of fourth and fifth (difference between them is as the rhythmical “splash” of triplet in the upper layer), – are placed on the distance of three, two octaves. It is interesting that both textural lines even are crossed.

In the second romance “Prelude” (“The Moon Shadows”) fancifulness of the moon shadows image has been embodied in the piano part by the descending series of the original “glass” sound complexes, consisted of a secondary seventh chord with major seventh (without fifth) and a chord of fourth and fifth. Beside the accompaniment`s extraordinary colour the vocal part is more traditional through its clear tonal outlines in F sharp major. But the words “the shadows of grief” are coloured by minor third, so an augmented triad appears in the vocal melod, adding an image of the romance. (Ex.26)

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Ex. 26 Borys Lyatoshyns`ky, “Prelude”

The melody of the third romance “A New Moon”, avoiding a tonal center in its development, is notable of change-ability in a modal aspect. From the beginning the piano part gives an impression of static pulsating of the texture: in the high register an ostinato figure has been formed as a quintole on the nuance p and pp. Its intonation peculiarities (a range of a diminished octave, initial minor second, next steps on the minor seconds, a jump on the minor sixth down with a step-opposition on the minor third up) are revealing for the individual Lyatoshyns`ky`s style where even in a static image sharpening of the intonations is traced. (Ex.27)

Ex. 27  Borys Lyatoshyns`ky, “A New Moon”

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In the fourth romance “Disappearance of the Moon” as in the previous ones the tonal center is absent, its function is adopted by chord c-e-fis, marked by astringent colour of densely placed tones. The piano part consists of two layers. The first one is melodic moving of the major thirds and the second one is ostinato tunes. Their interval and rhythmical structure is very original – descending jump on a perfect octave with next steps on a minor second are represented by special rhythmical formula (triplet of demisemiquavers and quaver with a point) in consequence with which there is accented range of a major none. (Ex.28)

Ex. 28  Borys Lyatoshyns`ky, “Disappearance of the Moon”

Two romances op. 10 continue the same tendency of searching in aspect of harmonic colouring, Lyatoshyns`ky desires to render change-ability of mood, mixed colours of the nature pictures by atonal chord means, orchestral interpretation of piano accompaniment. Both poems are typically romantic, related by an idea of solitude and an image of a moon which depends on the hero`s passions. In the first romance quick passing of “tender dreams” associates with change-ability of a moon light. In the next one an image of a moon is personified and embodies solitude of a live creature. But music interpretation is far from only romantic perception because it`s marked by colouring attitude to music flow.

“My dreams in loneliness fade” demonstrates Lyatoshyns`ky`s thought moving – from late romantic model to Impressionism. Accordingly there appears

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a binary form. Its first section is built by the principle of steady falling away of chord accompaniment. The main harmonic colour here is a secondary seventh chord with diminished triad and its inversions. The vocal part is also full of the tritone, minor second sharp intonations. A harmonic style of the second section is more refined owing not only to complicated structure (secondary seventh chord with minor third, secondary seventh chord with major seventh, dominant major ninth chord with flattened fifth, the same one with raised fifth) but to textural changes (subtle moving of quintuplets and triplets in meeting lines).

Similar textural design we can also observe in the piano part of the romance “Moon”. In the upper register there is a chord, consisted of fifths and fourths, which slowly comes down by the semitones. The bass voice moves by the tones of secondary seventh chord with major seventh, of dominant seventh chord and a chromatic change of the seventh enriches music texture by colouring traits (Ex.29).

Ex. 29  Borys Lyatoshyns`ky, “Moon”

In the romance “Ozymandias” op.15 № 1 (poem by Shelley) for bass and piano it is strengthened of an idea of art eternity and man-creator. Recitative-like vocal part and permanently chordal accompaniment create majesty story-hymn

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which exists as if it out the time. The composer originally has used timbre possibilities of a piano, such as register comparisons, contrary and parallel moving of the textural layers that impart to music extent and spatial differentiation on the first, the second etc. plans. (Ex.30)

Ex. 30  Borys Lyatoshyns'ky, Ozymandias (bars 4–12)

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Also there are various harmonic colours in this romance, in the first and the final sections of which prevail the diatonic chords consisted of perfect fourths and fifths but in the middle section they are more complicated. So, here alternate a secondary seventh chord with major seventh and a secondary seventh chord with third and major seventh. Here also appear a dominant major ninth chord with fissionable (simultaneously sharpened and flattened) fifth, and also unusual two-layers facture of contrary and parallel moving: 1) the perfect fifths in the bass; 2) series of the secondary seventh chords in the middle register. (Ex.31)

Ex. 31  Borys Lyatoshyns'ky, Ozymandias (bars 18–24)

Underlining the mood of the poetical text “Ye Ozymandias, ye Mighty and despair”, Lyatoshyns`ky introduces a new colour, he adds to known chord consisted of perfect fourths and fifths as if similar one but with a tritone. (Ex.32)

Ex. 32  Borys Lyatoshyns'ky, Ozymandias (bars 26–29)

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Thus, there is forming a dissonant chord c-f sharp-h with a range in major seventh, rhythmically (dotted rhythm, a triplet) similar to the fanfare calls.

Actually, in the vocal music by Lyatoshyns`ky there had crystallized the principal image range which the composer had realized by specially interpreted impressionistic means. Then, in the instrumental pieces he used them, interspersing in an expressionistic atmosphere as personification of the whimsical, delicate images, an unattainable beauty ideal with a seal of sadness. For instance, one of the favourite textural and harmonic means of Lyatoshyns`ky – a secondary seventh chord with major seventh in a wide arrangement – we can see in the second part of Sonata for violin and piano op. 19 (figures 1, 4 of the piano part). In both cases this is an account of the theme. But in the figure 1 it sounds resonantly and capriciously in the high register as combination of a perfect fifth with chord from fourth and fifth. In the figure 4 the theme consists of two chords from fourth and fifth in contrary moving, marginal points of which are divided by four octaves, and in such case the space of a theme is widen.

In the traditional cycle of the Quartette № 2 op. 4 Lyatoshyns`ky originally interprets the second part (Molto lento). Here he has stylized a music exotics of

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the Orient, having lean on the pentatonic modal scale. Evidently, not accidentally among other parts only this one has a title (“Intemezzo”). It`s possible that the author just in this case wanted to emphasize its certain substantial roundness, self-sufficiency.

Despite of a ternary form (which “provokes” a presence of a contrast idea), in “Intemezzo” has been achieved an extent of one sound picture owing to common modal basis. This feature is habitual for Impressionism, it means a full scope by thought and passions of sound picture. Slow and rhythmically stable moving by perfect fifths in a violin II and a violoncello becomes an outline (but not a background in a traditional sense), on which rhythmically capricious “embroidery” of a violin I and a viola emerges. Limpidity of sounding is favoured by phonic character of key F sharp major, by dynamics nuances p, pp and timbre means con sordino. (Ex.33)

Ex. 33  Borys Lyatoshyns'ky, Quartette, Intermezzo

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In the figure 3 the composer creates a spatial effect: the theme of a middle section is like an unison of a violin I and a violoncello on the distance of two octaves and a space between them is filled by quintuplets of a background line.

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In the piano cycle “Reflections” op. 16 the second and the fifth pieces carry an impact of an impressionistic world-perception as little isles of delicate lyrics on the general background of expressive emotional conditions. The image of the № 2 is dreamy, tender, especially delicate, and in the same moment is full of inside tranquility. (Ex.34)

Ex. 34  Borys Lyatoshyns'ky, Reflections, II, the first section

This piece written in a ternary reprise form shows an interesting decision of textural aspect with phonic effects. The most revealing is the middle section which arises from shimmering pattern in a shape of the laid out the third inversion of the seventh chord as a triplet. Actually, on this background is visible a fastidious, refined relief of the melody. Double of its tones on the distance of two octaves is as colourful nuance (an effect of rarefaction). From time to time in the bass voice there appears a compound pedal-arabesque with a tritone as its base

Special interest represents a rhythmical organization of this section: a combination of the ideal triplet pattern in the middle layer, rhythmical improvisation in the melody and directly stressed “without system” of the remarks in a pedal complex, appearing quite unexpectedly (Ex.35).

Ex. 35  Borys Lyatoshyns'ky, Reflections, II, the middle section

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Also Lyatoshyns`ky demonstrates his active attention to coloring nuances, introducing a series of parallel perfect fourths – a new phonic trait, which divides the middle section from the last one.

The textural aspect in the piece № 5 is similar to № 2: there are also three layers but here they have another interpretation. The upper layer – quintuplet formulas – is ostinato, where a phonic colour of minor second is distinguished by the rhythmical irregularity of its using. The first minor second coincides with the beginning of a quintuplet, the next one is the second in this quintuplet. The second layer is a refine sharp melodic line of an instrumental type. The third layer is represented by the spatial bass b, which embraces four octaves and poly-rhythmically correlates with the upper layer (Ex. 36).

Ex. 36  Borys Lyatoshyns'ky, Reflections, V, the first section

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So, in the 1920s Lyatoshyns`ky actively has used the impressionistic means for creating a special image circle (the images of changeable, short transient moods; fantastic, unreachable dreams; delicate, silent secret emotions, born by symbolists` poetry, by its enigmatic, a little cool and capricious “moon” colour): a melody as arabesque; series of parallel unresolved chords; changeable, irregular rhythm with often use imbroglio; the typical textural images – harmonic figurations as vibrating patterns, the prolonged bass pedals, inclusion of a large space with marking sonorous “futilities” inside. But in contrast to Debussy`s inclination to the non-semitone scale Lyatoshyns`ky has used the broadened 12-sound system (an exception is mentioned Intermezzo from the Second quartette).

REVUTS`KYLev Revuts`ky (1889, Irzhavets` near Chernihiv – 1977, Kyiv) – Ukrainian composer, teacher. Doctor of

Musicology (1941). During 1906–1908 he studied in the Mykola Lysenko`s School of Music and Drama, 1916 he graduated Kyiv Conservatory where he studied composition under Reingold Glier. Since 1935 he had been working as a professor of composition at the mentioned conservatory. He is one of the modern Ukrainian composer`s school founders (he tought such composers as Hryhorij and Platon Majborody, Herman Zhukovs`ky, Vitalij Kyrejko, Arkadij Filipenko and others). He has written cantata-poem “Hustyna” (“Headscarf” after Taras Shevchenko), two symphonies, piano concerto with symphony orchestra, choral works, pieces for piano, romances, arrangements of folk songs.

Revuts`ky was the elder contemporary of Lyatoshyns`ky, he also studied composition under Reingold Glier. But a determinant in his forming as a composer was an atmosphere of native home and an acquaintance with Mykola Lysenko, a founder of the Ukrainian classic music, in 1903. Later Revuts`ky remembered about his personal contact with Lysenko,

Studing piano under him, I had adopted a lot of things that essentially has been reflected in my work in genre of piano music. Later Lysenko`s influence was observed on my composing work with melodic structure which appeared to me through the works by Lysenko21.

21 Tamara Shaeffer, Lev Revuts`ky (Kyiv, 1979; in Ukrainian), 7.

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From the one hand Revuts`ky`s support on the national traditions of the Ukrainian music and from another hand, a desire to enrich it by the achievements of modern European music have determined the creative strivings of young composer. Exactly Impressionism of all trends of modern music has become the most closest to subtle, dreamy nature of composer.

The Second symphony (1927) by Revuts`ky is considered by right to be an acme of his works. An analyze of syntheses of national mentality with the impressionistic features which helps to disclose a depth of the artist`s intention may be one of the keys for understanding of this symphony. Its image-bearing world naturally demonstrates this combination. Here the images of nature, fascinating pictures of the native landscape as if combine all together in indivisible whole with rich inside world of a man, who does not conceive himself out the nature. Similar bond impresses us in the poetic texts of the ancient Ukrainian folk songs where all development of a plot is built on the permanent parallels between the phenomena of a nature and a life of a man, where a girl is compared with a guelder rose, a young man – with curly oak, where a married couple faithfulness personifies in a couple of pigeons and a women` grief – in the image of the cuckoo…

There, on the hill, on the silk grassThere were sitting a couple of pigeons.

From the mountains a falcon has flied,Ruined, severed the pigeons from the couple.

We can see the similar result in the symphony by Revuts`ky. Three parts of it represent three different landscape pictures written every time with new light. The morning, the first sun rays, reflected by rainbow in the drops of an early-dew; the night, depicted by the mild, pastel tones; the day, filled by rich, bright colours. At the same time they are also three seasons of year – a spring, a summer and an autumn which in the folk mentality associates with a human life: a childhood with its first trial of wings; a youth covered by a charm and a poetry of love; a maturity filled by energy of labour, by reaping of its fruits. But first of all they are three states of soul: joyful, amazed one, which opens the world for itself with admiration; placid or tender, dreamy one, plunged to contemplation and energetic vital one attracted to general flow of mass gaiety.

All above is attained by a new interpretation of folklore passed in the light of impressionistic experience. The symphony is based on the folk tunes (with the exception of the first theme from the Part I), taken from the popular collection by the Ukrainian folklorist Klymentij Kvitka “Ukrainian Folk Melodies” (published in 1922). Selection of the folk tunes confirms principally new attitude to folklore, a search of its consonance to a modern music thinking.

In such aspect the most interesting and impressive is the first theme from the Part I. As Revuts`ky confessed, this melody has appeared as a memory about vesnianka (a genre of Ukrainian folk songs which sung during a spring), heard in his childhood. Actually it hasn`t a clear source but in some links there are evident

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the intonations of the song “Oji, vesna, vesnytsia” (“Oh, spring, spring”). As subtle colours two transparent chords appear in the introduction. Fresh and fluctuating harmonic sequence of the subdominant ninth chord and the first inversion of II degree seventh chord in E major, gentleness of an orchestral colouring (2 Cl., Fag., Cor., Arpa,V.-c.) with a light timbre of a harp give rise of awakening and expectation of a sense. Then, the first theme appears in basson on the twinkling, vibrating background of strings figurations con sordino as if penetrated by the air flows. (Ex.37)

Ex. 37  Lev Revuts'ky, 2nd Symphony, part I, the first theme in basson

At once it intrigues by its mysteriousness, originality in the modal aspect. A change-ability of vibration between two supports dis and gis, which only at the end clears by the tonal center E major, gives to theme some vagueness and at the same time significance, a possibility to differ modal interpretation in the next development. Thus, in the following account in the part of corno anglais (figure 1, bars 7–10) the modal base is slightly complicated by displacement of the triplet tune on a semitone down. (Ex.38)

Ex. 38  Lev Revuts'ky, 2nd Symphony, part I, the first theme in corno anglais

The second one as a canon (figure 1, bar 2) is decked by sextolet figure with a base on the secondary seventh chord with minor third. In the development section (figure 13, Tranquillo) the theme is in the natural e minor. The beginning of reprise gives an effect of a polytonality. It means a bearing tone g is emphasized in the theme while the figurations of the background are in a minor.

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An intonation structure of the theme is the same original one. The foundation of its six bars period is a short two bars tune which further is played up modifyly in volume of diminished fifth. The narrow range of the five sounds tune is connected with the archaic layers of the Ukrainian ritual folklore. At the same time its capricious rhythmical organization with a permanent displacement of the accents inside the bars conducives to its changeable significance.

The second theme22 is more real in a character, more clearly outlined in a structure and in a tonality. But Revuts`ky enriches it also by a colouring trait: here exists a flatten variant (gis, g) as a mordent beside with natural V degree. Its harmonic foundation is also rich, stressed by important melodic bases and a culmination of the theme. This way, the semantic sound fis in both cases is supported by the diminished seventh chord, but its climax and its abatement (bars 5–7 of the theme) are supported by ninth chord, dominant seventh chord (Ex.39)

Ex. 39  Lev Revuts'ky, part I, the second theme

22 The folklore source is a song “Oij ne zhal` meni ta ni na koho” (“I don`t regret whom”).

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Thus, already in the very structure of the themes – modal, intonation, rhythmical one – there are laid principles of the next expansion of the music images to wit their colouring modifying, constant re-comprehension by modal, harmonic, textural, dynamical, rhythmical changes. Owing to this the main images appear every time in a new light creating a wide circle of moods and passions

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which continually is fluctuating between poetical contemplation of a nature and inspired world of the human passions.

In this aspect there is important the timbre modifying. An image sense of the themes changes every time connecting with a specific timbre of an instrument. By this way at the beginning the mysteriousness of the first theme is stressed by the basson middle register saved from a sharp typicality. The next canonic calls-over of a clarinet and corne anglais obviously carry “an plain air” character with the same effect by flowing moving of strings. This theme, represented by the strings in the high register, at once switches “the action” to inside world of the human passions: it gains a passion of an excited utterance. Especially in the development section an interaction of different devices with modifying re-comprehension creates a very plastic substance. In the episode Tranquillo (figure 13) the dynamic level abates after climax and on the background continuous chords the first theme is played placidly by the violoncellos and the contrabasses in a minor as a concentrated meditation. And suddenly here arises an unexpected switch to another space, to another temporal dimension (figure 14). The intonations of the first theme dissolve in the fluid, airy figurations of a flute on the minor triad in the second inversion, in the augmented triad, in the secondary seventh chord with major seventh background. It seems like a stopped moment and admiring by it which is connected with a similar substance of the coda as a semantic arch. The character of the last one is clear and brighten up, the figurations, founded on the augmented triad and the diminished seventh chord as if rarefy an atmosphere by “melting away” sounds.

The second part of the symphony – Adagio – is a bright picturesque tone canvas: the night landscape, illumined by shimmering of the moon light rays. The first section has been marked by the stereophonic effect of the sound substance, it is reached by means of the unisons on the two octaves distance. At the beginning we can observe the tremolo background in the parts of the violins I and the violas, then the theme is superimposed by the flutes and bassons unisons in the same disposition23. (Ex.40)

Ex. 40  Lev Revuts'ky, 2nd Symphony, part II, the first section

23 There is used a melody of the folk song “Oji Mykyto, Mykyto”.

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The peculiarity of this episode is its fantastic character, mainly motivated by the using of whole-tone scale elements (in the key c minor with the Phrygian nuance the melody descends from dominant) and melodic minor (g is as a temporary key-note). In Mikhail Bialyk`s opinion,

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such originally used means – moving around a tonic fifth – is characteristic to the Ukrainian epic strains, especially to the “dumas”. The Phrygian mode elements which are present in the melody too, are characteristic to the Ukrainian lyrical songs. Thus it becomes apparently a special Ukrainian mood of this fragment24.

The modal base is be-tonic as E flat major and g minor and contains the similar modal “shimmering” (beside to natural here are used the sharpen and flatten degrees). The rhythmical structure of the theme has an improvise freedom of a movement. Such peculiarity is accentuated by its phrasing: accordingly to the symmetrical period structure (consisted of two four bars) all phrases inside of the sentence are different by the dimensions and break a possible square-ness.

In the following crossing to the main theme of Part II the first tune of the melody “Oji Mykyto, Mykyto” detaches itself. It brings to the theme of the whole music canvas more impressionistic nuance stated by the parallel major thirds in the oboes and clarinets parts.

The development of the main theme25 is clear, where the tunes from the first theme appear as the distant calls, reflections remembering the water-colours images by the impressionists. An instrumentation is gentle reproducing sensitively lyrical mood: the separate remarks of the woodwind are accompanied by the light, aerial tremolo played by the strings and glissando by a harp. The harmonic colours of this fragment are a ninth chord and a dominant seventh chord.

Part III is a spirited, inflammatory genre tone picture, based on the folk round-dances melodies “Ah my proso sijaly” (“We sowed a millet”) and “Pry dolyni mak” (“A poppy is growing near the valley”). In these melodies Revuts`ky has stressed the dance, rhythmical foundation. Thus the third part of the symphony by its conception does not foresee a use of the impressionistic means. The composer, demonstrating his skills in variation development of the themes, has used the classical devices. For whole conception such final seems appropriate. It logically finishes gradual clearing of an intention: from change-ability of the images, their significance, fluctuation of the mood crosses to the picture of a nature, from a passion to a landscape sketch, and to the bright, clear genre substance in the vital energy of the final part. Unfortunately, this part is the least original with its music language as compared with previous ones. The most valuable is the natural syntheses of the Ukrainian folk sources with the rich range of expression of the impressionistic means which has been discovered by Revuts`ky in the first and the second parts of the symphony.

RESUMEThe analyze of some mentioned works by the English and Ukrainian

composers gives a reason to affirm that in the same time – 1910–1920s – so different nations were developing a general art tendency – Impressionism assimilation experience on their national grounds. On the whole this process, having departed from Romanticism` aesthetics, was rather active search of new

24 Mykhail Bialyk, L. Revyts`ky. The Features of His Works (Kyiv, 1973; in Ukrainian), 141.25 There is used a melody of the folk song “Oji tam v poli sosna” (“A pine-tree grows on a field”).

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expression musical means, a renewal of music thinking, marked by composers` interest to colours in sounding, to quickly changeable moods, also to static character of a music flow. Together with Debussy these composers made a valuable contribution for the future development of the British and Ukrainian music.

MUSICWilliam Baines“Paradise Gardens”“Labyrinth (A Deep Sea Cave)” from the series “Silverpoints”“Twilight Woods – a fragment” from the series “Twilight Pieces”“The Lone Wreck” from the series “Tides”“Prelude № 5” from the series “Seven Preludes”Frederick Delius“Three Preludes” Cyril Scott “Carillon”“Danse Langoureuse” op. 74 № 3“Solemn Danse” op.75 № 3Vasyl` Barvins`ky“Prelude” in F sharp major“Improvisation” (part of piano cycle),“In Wood” for voice and piano Trio in a minor (second part)“Frog Valse” “Prelude” in e minor Borys Lyatoshyns`ky“Moon Shadows” for voice and piano op.9 “Two romances” for voice and piano op. 10 “Ozymandia” for voice and piano op. 15 Sonata for violin and piano op. 19 Quartette № 2 op. 4 “Reflections” op. 16 Lev Revuts`kySecond symphony

LITERATURE

1. Mykhail Bialyk, L. Revyts`ky. The Features of His Works (Kyiv, 1973; in Ukrainian).2. Roger Carpenter, Annotation to disc, William Baines. Piano music (Lyrita Recorded Edition, England, 1972).3. Roger Carpenter, Goodnight to Flamboro: the Life and Music of William Baines (Rickmansworth, 1977).4. Edison Denisov, `About Some Peculiarities of Claude Debussy` Manner`, Modern Music and Problems of

Composer`s Technique (Moscow, 1986; in Russian), 90–111.5. History of Ukrainian Music, 4 (Kyiv, 1992; in Ukrainian).6. Christopher Palmer, Delius: Portrait of a Cosmopolitan (Duckworth, 1976).7. Christopher Palmer, `Cyril Scott: Centenary Reflections`, The Musical Times, cxx (1979), 738–741.8. Christopher Palmer, Impressionism in Music (London, 1973).9. Stefania Pavlyshyn, Vasyl` Barvins`ky (Kyiv, 1990; in Ukrainian).10. Stefania Pavlyshyn, `Vasyl` Oleksandrovych Barvins`ky`, Ukrainian musicology, 3 (1968; in Ukrainian),

132–141.11. Fiona Richards, `William Baines and His Circle`, The Musical Times, cxxx (1989), 460–463.12. Victor Samokhvalov, Borys Lyatoshyns`ky (Kyiv, 1972; in Ukrainian).13. Tamara Shaeffer, Lev Revuts`ky (Kyiv, 1979; in Ukrainian).

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