SONNET IN CHAMBER VOCAL MUSIC OF MYKOLA DREMLYUHA

Abstract

Chamber vocal miniatures by well-knowm Ukrainian Composer M. V. Dremlyuha (1917–1998) is analyzed in the article. These romances were created within the period of 1973–1876 and written on sonnet lyrics of Ukrainian and foreign poets of the past and contemporainity. These works, which characterize brightly M. Dremlyuha as an insightful artist-lyricist, are considered in the context of social and cultural circumstances of the period given – the second half of the 20th century. In the process of analysing of a number of romances on the words of F. Petrarch, Michelangelo and W. Shakespeare the attention was mostly focused on essential elements of the composer's musical language (melody, harmony, rhythmical and textural nuances). Since in the process of the research the mechanism of coordination of musical and literary components of a chamber vocal work evoked special interest of the author of this article, the composer's search of the sonnet structural canons' embodiment into the context of musical form has been given priority.The objective of the research is revealing of characteristic stylistic and conceptual specificities of M. Dremlyuha's romances, written on sonnet lyrics of Ukrainian and foreign poets. In the process of the research of M. Dremlyuha's chamber vocal music of the period of 1973–76 were used the following methods: the analytical and descriptive one (for characterizing of stylistic and conceptual peculiarities of romances by M. Dremlyuha), the method of historical analysis (to clarify the circumstances of the creation of the researched works), and the method of system analysis (for generalization and producing intermediate and final conclusions). Mykola Dremlyuha's musical sonnetarium is still an uninvestigated field. It only was researched in one article. In our research for the first time the analysis of a number of M. Dremlyuha's romances was made in the context of specifics of the composer's interpretation of sonnet structure.The collection of M. V. Dremlyuha's musical sonnets exposes brightly the lyrical aspect of his versatile creative individuality. The vocal miniatures analysed are noted for their organicity and elegance of structure, richness of melodical, harmonical and rhythmical palette, well-developed, expressive and texturally diverse piano parts, which often are not just an accompaniment.