RecitalName:WithUkraineInMyHeart
Studentname:YevanhelinaBut
Dateofrecital:05/12
TimeofRecital:1PM
LocationofRecital:A.F.SiebertChapel
Program
SonataB-flatmajor
PianoSonataNo.1,op.1
Etudeop.8No.2andNo.8
HungarianRhapsodyNo.2
RhapsodyNo.2onUkrainianthemes,op.18
DmitryBortniansky(1751-1825)
SergeiProkofiev(1891-1953)
ViktorKosenko(1896-1938)
FranzLiszt(1811-1886)
MykolaLysenko (1849-1912) "Dumka-Shumka"
Elegieop.41No.3
ProgramNotes
D.Bortniansky Sonata in B-flat major
DmytroBortnianskyisoneofthemanyprominentUkrainianswhosenamesonceglorifiedtheRussian EmpireandwerelaterappropriatedbymodernRussia.However,likemanyofhisoutstanding compatriots,Bortnyansky,wholivedmostofhislifefarfromhishomeland,neverthelesswasand remainsaUkrainianandabrightrepresentativeofUkrainianculturewhomanagedtosuccessfully combinethebestachievementsofhiscontemporaryEuropeanmusicalschoolandthenationalmelodic heritage.
Bortnianskywrotehissixkeyboardsonatasduringthe1780-'90swhileworkingasamusicteacherat theroyalcourt.Theseworkswereintendedforthosewhostudiedmusic.Onlythreesonatasareknown todate-Cmajor,Fmajor,andBflatmajor.
Sonata isoneofthemaingenresofchamberinstrumentalmusic,whichisusuallyathree-partcyclic work.Theterm"sonata"comesfromtheLatinword sonus,whichmeans"sound,"andtheItalian sonare"to sound,"backinthe16thcentury.Initially,theword“sonata”meantperformance,playing musicalinstruments,andlaterinstrumentalmusicingeneral,andbytheendofthe16thcentury,a sonata begantobecalledanindependentinstrumentalpiece,differentfroma cantata.
Sonata in B flat major hasonlyonemovement,similartoG.D.Scarlatti’sone-movementsonatas.This piecewasoriginallywrittenfortheharpsichord,butitstexturehelpsittosoundcrispandlightevenon themodern-daypiano.
S.Prokofiev Piano Sonata No.1, op.1
SergeiProkofievisoneofthebrightesttalentsintheworldofmusic,whosenameisatthetopofthe listofthemostperformedcomposersofthe20thcentury Hisnameiscloselyassociatedwithmany countriesoftheworld:Russia,theUSA,France,andGermany,butSergeiProkofievwasbornin Ukraine,whichheneverforgotandwasproudof.Thecomposerkepthisloveforhisnativelandforthe restofhislife.Asthecomposer'swife,M.Mendelssohn-Prokofievarecalled:"Hetalkedalotabouthis childhood,aboutUkraine,thevillageofSontsovka,wherehewasborn.SerhiySerhiyevichSontsovka isespeciallyoftenrememberedwithexcitementduringthedaysoftheGreatPatrioticWarwhenthe battleswerefoughtnotfarfromhisnativeplaces.Inrecentyears,hehasrepeatedlyexpressedhis desiretogothere."Whilestayingabroadformanyyears,ProkofievtoldhisfriendsintheWestthathe neededtolive"inhisnativelandscape,"whichalsopreservedthesteppespacesofhischildhood.
TheSonatasconstituteoneofthemostsignificantpartsofProkofiev'spianowork.Ninepianosonatas, composedoverfourdecades,reflecttheevolutionofProkofiev'sstyle. Sonata No.1, op.1,wascreated bythecomposerin1907andmarkedthecompletionofthestudentstageofhiswork.Thisworkwas notthecomposer'sfirstexperienceinthefieldofsonata-hewrotefiveworksinthisgenrewhilea studentattheconservatory.Twoofthem-FirstandtheFourthwerelost,andtheotherthreewere reworked,becomingthebasisforlaterpianoworks.TheSecondYouthSonata,inthreemovements, became Sonata No.1, op.1,whichthecomposerdedicatedtoVasilyMitrofanovichMoralev,hisfriend andpassionatemusiclover.
Thisworkmarksamilestoneinthecomposer’screativelife:nolongerastudentbutnotyetafully developedartist,whichexplainssomeoftheuncertainty.Thisisnotatraditionalthree-movementcycle -thesonatahasonlyonemovement.One-movementworksarenotuncommoninthepost-Lisztperiod, buttheyusuallyrepresentanextendedforminwhichthesonatacycleisreflectedinacompressedform buthere,theformdoesnotgobeyondthetypical Sonata-Allegro,whichusuallybecomesthefirstpart ofthecycle.
Theinexperienceoftheyoungcomposerisalsofeltinthesonata,manifestedintheimperfectionof polyphonyandexcessivefigurations.Here,Prokofievisnotyetexperimentingasboldlyinthefieldof harmonyashewoulddoinsubsequentyears.However,theworkconveysafierytemperamentand sincerityofmusicalexpression. Sonata No.1, op.1 “openstheway”forsubsequentProkofiev’ssonatas.
V.Kosenko
Etudes op.8
ViktorKosenkoenteredthehistoryofUkrainianmusicprimarilyasamasteroflyricalworks.His vocal,chamber,andsymphonicworksarefilledwithromanticintonationsofSlavicmusicandfolk songs.Kosenkodeeplystudiedfolksongs,andatthetimeofhisprofessionalmaturity,heworkedona largeseriesofarrangementsandharmonizationsoffolkmelodies.Theauthortriedtoconveythe figurativemeaningofthefolksonganditssocialsubtextasaccuratelyandvividlyaspossible.The UkrainianfemalecomposerBohdanaFiltswrotethat"thebasisofmusicalexpressiveness"ofKosenko is"asincereandmelodiousmelody,inmanyworkstheintonationisclosetotheUkrainianmusical folklore,...theverystructureofthephrasestestifiestotheUkrainiannatureofthemusic."
Сycleofromantic Etudes op. 8 KosenkodedicatedtohiswifeAngelina.Hewrotededicationsin differentways:"dédiéàM-meAngeliqueKanepp,""А.В.КанепКосенко"or"«А.В.Косенко,"oncebyhermaidenname:"AngeliquedeDenbnowiecka."LikeChopin’setudes,whoseare“wonderful combinationoftechnologyandart,"Kosenko’setudeisbasedonacertaintexturalandtechnical formula,andaccordingtoB.Filts,"isawidelydevelopedconcertpiecewithabrilliantpiano performance,which,intermsofcontent,comesclosetomusicalpoemsindepth."
F.Liszt Hungarian Rhapsody No. 2
UkrainehasalwaysattractedpeopleofartandthefamousHungariancomposerandpianistofthe19th century,FranzLiszt,isnoexception.In1847,hevisitedmanyUkrainiancitieswithconcerts,including Kyiv,Zhytomyr,Nemyriv,Berdychiv,Kremenchuk,Odesa,Mykolaiv,andKropyvnytskyi.Hisvisitto Kyivwas,ofcourse,themosthistoricbecauseitwastheplacehemethislove.
Liszt'sfirstperformanceinKyivtookplaceinthebiggesthallofthecityatthetime-intheContract BuildingonPodil.Ticketsforhisconcertsweresoldinstantly,forwhichtheartistreceiveda considerablefee,butbecauseofhispassionforcards,heleftalmostallthemoneyonthegambling table.
InthehalloftheTarasShevchenkoNationalUniversityofKyiv,Lisztheldhissecondandthirdcharity concerts(collectingfundsfororphans).Atoneofthem,hemetPrincessKarolinaWittgenstein:ata timewhenaticketcost1rouble,shedonated100,whichattractedtheartist'sattention.Heimmediately decidedtogettoknowtheprincess,buthehadnoideathathewouldsoonfallinlovewithher That evening,sheinvitedthecomposertoherestate.Lisztvisitedit,andheandKarolinabecamelovers.
ItisbelievedthatLisztbecamethefounderofthe rhapsody genre.Thecreationofthegenreis attributedtoLisztbecausehewasabletocreatenotonlyacertainstructureofthe rhapsody butalso classifiedthespecificcharacteristicfeaturesoftheworks,whilehispredecessor,Tomashek,hadsimple worksthathadnologicalbasisandnosimilaritytoeachother Lisztwasinspiredtocreate rhapsodies byahistoricaleventrelatedtoHungary.Inthecomposer’snativeland,arevolutiontookplaceagainst thefeudal-landownersystemoftheAustrianauthorities.Unfortunately,theuprisingwasnotsuccessful andwasbrutallysuppressed.HungaryagainbecamepartofAustria.Thisfactdeeplystruckthe patrioticsoulofthecomposer.Then,thefirstideasappearedaboutcreatingrhapsodiesbasedon Hungarianfolkmelodies.
Hungarian Rhapsody No. 2 isthemostcharacteristicworkinthisgenre;itisthemostfamousand performed.Thepiecewasfirstwrittenin1851forsolopiano.FranzDoppler,acolleagueofLiszt's, quicklyorchestrateditandaddedapianoduetmorethan20yearsafterthesoloversion.Thestructure istwo-partwithanintroduction,builtonthesuiteprinciple.Thefirstpartisbasedontheslowlyrical folksong Lassan;ithasadistinctHungarianflavor.Thesecondpartisadancebasedonthenational danceFriska,whichisthesecondpartofthefamousCsardasdance.Themainfeaturesofthisdanceare livelinessandswiftness.
M.Lysenko Rhapsody No.2 on Ukrainian themes, op.18 "Dumka-Shumka" MykolaLysenkoisconsideredthefounderofUkrainiannationalmusic.Bothhiscompositionaland ethnographicactivitiesplayasignificantroleinthis.
In1904,LysenkoMusicandDramaSchoolwasestablishedbyMykolaLysenkotofosterthe developmentofUkrainianmusic.Lysenkofinancedtheprojectwithfundsoriginallygatheredbyhis supporterstobuyhimacountryhouseforhis35th-anniversarycelebration.Theschool'scurriculumwas onthelevelofaconservatory,andtherewasaseparatedramadepartmentandamuseumofUkrainian folkinstruments.TheschoolwasdirectedinitiallybyLysenkoandthenbyhisdaughter,Mariana Lysenko.TeachersincludedLysenko,HryhoriiLiubomyrsky,OleksanderMyshuha,andMariia Starytska.TheschoolwastheonlyUkrainianhighermusicschoolofitsday,anditsinfluenceonthe developmentofUkrainianmusicisreflectedinthelistofitsgraduates.In1918,theschoolwas reorganizedandrenamedtheLysenkoMusicandDramaInstitute.ItwasthefirstUkrainianmusic schoolintheterritoryofthethen-RussianEmpirewiththeUkrainianlanguageandcurriculum.
Rhapsody No. 2 inLysenko'spianoworkbecameanimportantcreativeculminationbecause,duringthe tenyearsthatprecededtheappearanceof Rhapsody,Lysenkowassearchingforhisownstyleinmusic, inparticularinpiano.Hewaswell-versedinEuropeanmusic.
Rhapsodyhasthesubtitle"Dumka - Shumka."Theword Dumka originatesfromtheUkrainianlanguage, meaning"athought"or"areverie." Shumka isoneofthefolkdancesthathasfirmlyestablisheditselfin folklifeandfolktradition.LysenkoknewF Liszt'sRhapsodiesbecausehehadtoperformthem.He understoodthatthegenreofRhapsodyifitisbasedonUkrainianfolkloreroots,willhaveaperspective onitsdevelopmentinUkrainianmusic. Rhapsody No. 2 isaconcert,virtuosicpianopiecethatrequires ahigh-performancelevelfromthepianist.
Elegie op.41 No.3
Elegieisagenreofvocalorinstrumentalminiature.Itisasmallpieceofmostlysadnature,connected withmotivesofloneliness,suffering,unrequitedlove,etc.Duringthe1900s,LysenkowrotetwoElegies (op.39No.3andop.41No.3).Bothworkstracethedesirefornationalexpressionofthisgenre.