K. MYASKOV’S RHAPSODY «BAYDA» FOR BANDURA AND PIANO: SPIRITUAL-SENSE AND GENRE-INTONATIONAL SPECIFICITY

Abstract

The study summarizes the genre-stylistic and intonational features of K. Myaskov’s rhapsody «Bayda», which is in demand in modern academic bandura performance practice. The purpose of the work is to identify the poetic-intonational uniqueness of K. Myaskov’s rhapsody «Bayda» in the context of genre-stylistic searches of Ukrainian musical culture of the mid-20th century and the processes of academization of bandura instrumentalism. Methodology of the work. Essential for this work are genre-stylistic, intonational, musical-culturological, as well as analytical-musicological research methods. The scientific novelty of the work is determined by the fact that it first presents analytical generalizations regarding the genre-intonational specificity of K. Myaskov’s rhapsody «Bayda», which is one of the brightest examples of academic bandura instrumentalism of the 20th century. Conclusions. The modern stage of development of bandura, original bandura creativity and performance genetically goes back to the ancient traditions of Ukrainian culture and its spiritual and ethical guidelines. Bandura art was formed in direct connection with kobzarism, the culture of the Ukrainian Cossacks and the living folklore practice associated with them, which in the 20th and early 21st centuries is the subject of active revival and creative assimilation within the framework of academic bandura art. The sound image of the bandura has become a vivid embodiment of the heroic and patriotic spirit of Ukrainians, their culture, spirituality and national worldview, in which the past and the present are organically combined. The work of the outstanding Ukrainian composer K. Myaskov is a significant contribution to the development of academic bandura art and the expansion of its performing and pedagogical repertoire, formed against the background of Ukrainian musical neo-folklorism of the middle and second half of the 20th century. A striking example of this kind of work can be considered the rhapsody («concert piece») «Bayda», which is also in demand in modern bandura performance practice. The genre and style indicators of this work, based on the intonations of Ukrainian folklore sources («Song about Bayda» and «Oh, the girl walked along the bank»), are formed at the intersection of typological features of rhapsody, concerto, and variation cycle. The structurally analyzed composition by K. Myaskov has the features of a freely interpreted sonata form, within which the traditions of romantic European instrumentalism are organically combined with the neo-folkloric direction of the development of thematics, indicative of Ukrainian music of the 20th century.