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https://doi.org/10.29013/EJA-19-3-48-54
Chystiakova Daria, postgraduate student, the music art Mykola Lysenko Lviv National Music Academy, Ukraine E-mail: [email protected]
"CONTEMPORARY" TENDENCY IN THE CHAMBER-INSTRUMENTAL MUSIC WORKS OF B. LYATOSHYNSKY (ON THE EXAMPLE OF QUARTET NO. 3)
Abstract. The author of the article has reviewed the chamber instrumental music works of B. Lyatoshynsky in particular, the main features of this universalized tendency, which the author called "contemporary". The article provides a comprehensive musicological analysis of the Third String Quartet, based on which the main tendencies and techniques of B. Lyatoshynsky's quartet writing are described. These techniques were introduced by the composer into his music pieces created during the "contemporary" stage; particularly, the attention is drawn to the chamber instrumental works. The author also describes the basic style and stylistic features, as well as their components - genre, linguistic, thematic. Special attention is paid to the performance analysis of the Third Quartet, the main points are highlighted, which are related to the performance difficulties with the description of specific techniques of playing the performers - the string instrument players.
Keywords: chamber instrumental music, chamber ensemble, string quartet, B. Lyatoshinskiy, Quartet No. 3 by B. Lyatoshinskiy.
Introduction. Judging by the peculiarities of the vertical structure, as well to enhance the role of
B. Lyatoshynsky's creative thinking, he is rightly at- polyphony in the texture of chamber instrumental
tributed to the composers-symphonists of the 20th music works.
century alongside such prominent composers as Results of the study. The stylistics of the Third
D. Shostakovich (Kanievska [2]). Therefore, the Quartet, which combines different components -
idea of symphony as a "genre of high generalizations" genre (sonata cycle and suite), linguistic (tonality
also dominates in his chamber music (Asafiev [2]). and modality), textural-thematic (homophony and
It is the chamber-instrumental music works and the polyphony of different types), identifies the means
whole sphere, characterized by the notion of some- of quartet writing, characteristic of the Contempo-
thing small and intimate as a kind of musical think- rary stage. In a sense, this Quartet is the final stage
ing, was for B. Lyatoshynsky a starting point in the for this stage, after which the composer's style un-
search for individual author's style. On the example dergoes significant changes related to the complex
of the Third String Quartet, the general trend in style comprehension of folklore sources enriched by the
is discussed, which is universalized by the concept technique of textures and shaping tools found in
of "contemporary" ' (Raaben [6]). This means that previous examples of this genre. The third quartet
B. Lyatoshynsky tended to renew the musical lan- (1928), which has the sub-title "Suite", we attribut-
guage in terms of combining the current trends of ed to the "contemporary" (Raaben, [6]) tendency
that time with the modal principles of organizing for the following reasons: 1) it observed a further
complication of the harmonic language and texture, which corresponded to the general idea of innovation in the music of the first decades of the twentieth century; 2) the Quartet overcomes the genre stereotype that linked it to the sonata cycle, from where there is a suite of dispositions, in which, in addition, none of the five parts is written in sonata form (Samokhvalov [7]).
Orientation for extended tonality with rough dissonance of the polyphonic vertical is combined in the "Third Quartet" with the use of the material development methods that are based more on variations rather than on an expansion of a motive. These principles originate from folklores. Another aspect of "modernity" is presented here - B. Lyatoshynsky's desire to find signs of his new quartet style in folk music, which then had political meaning because of the official requirements for the "nationality" of the art based on so-called socialist realism. Synthesis of the latest techniques in the quartet writing, tested in the two previous quartets, together with the suite logic of "playing dramaturgy" determines the style of the Third Quartet (Aranovskiy [1]). It has five parts, which are not, however, separate miniatures of a certain imagery and emotional content. They are built by the logic of continuity, which follows from a combination of two genres - quartet and suite. This is evidenced, in particular, by the "arch" between the 1st movement ("Prelude") and the last one ("Postlude", as well as by a contrasting comparison of the other parts, where "Nocturne" (2nd movement) sets off the ludic "Scherzo" (3rd movement). "Intermezzo" (4th movement) continues the playing line of the previous part towards the final movement - "Postlude".
The 1st movement, "Prelude" (Adjitato assai, 4/4, extended tonality with the centers in F and in D, simple ternary form of ABA, guasi-improvisational form of the material presentation) is based on two themes, which contrast to each other and are intonationally related at the same time. Initially, the viola part demonstrates the rhythmic structures that serve as a basis for the texture and the thematic complex of the entire
1st movement (quadruplets, quintuplets, and sextoles of the sixteenths). In fact, the theme, or the melody, appears in the 2nd bar in Violin 1 and 2 parts, and is further picked up by the Viola part, which claims to be the dominant instrument in the "Prelude". Then, we can see an exchange of functions between the instruments of the ensemble: the figurations from the Cello part (2nd - 5th bars), where they are played with quadruplets, are passed to the Violins in the polyrhythmic overlay of quadruplets and triplets. Starting from the bar 20, the presentation of the middle section theme begins (with Pocopiu tranquillo as the author's note). The improvisational and agitated character of the first theme presentation is changed to the quiet mono-rhythmic move of the second theme, which is embellished by a change in of the time signature to 5/4. However, as before, the expositional way of the theme presentation is quickly overcome by new textural and thematic formations, which play an important formative role in the quartet style of the composer. Starting from the bar 36 (the Meno mosso as the author's note) the reprise of the first theme begins, which is initially presented in the monorhythmic chord texture of the second theme (36th - 38 th bars). This is followed by the final stage of the "Prelude", which is presented in the form of a heterophone "ribbon" in the lower and the higher voices of the quartet against the background of polyrhythmic figurations in Violin 2 and Viola parts.
The peculiarities of the meter, rhythm and texture combinations determine the main performance difficulties in the "Prelude". The main thing here is to find the balance of structure and sound in the parts. Each of them is not too difficult themselves. But as they are played together, they must be coordinated vertically (polyrhythmics and purity ofpitch in unison and "ribbons") and horizontally (variable time signatures, constant transitions from the relief to the background in each of the parts).
The second movement, "Nocturne" (Lento, main time signature is 5/4, extended mode with conditional tonal centers in d and in a, a complex ternary form with a continuous development of material
and a dynamic reprise, an introduction and a small coda - the "arch") recreates the sphere of meditations, presented in the genre of nocturne. This genre supposes the improvisational presentation of the thematic and textural material in all parts, their rhythmic freedom in combination with a clear intellectual work on preserving the structural integrity of the music piece. B. Lyatoshynsky in this case does not stylize the movement according to the nocturne genre. He takes it as a basis for the symphonic-like development of material, which corresponds to the quartet style as a kind of sonata-symphonic expression. Hence the dominance of the process, which prevails over the structure in the formation of "Nocturne"; and this is quite typical for the composer's way of thinking (Grisenko [3]). In the 2nd movement of the Quartet, the nocturne genre traits are immediately rethought and become only the starting points for a poemic presentation. At the same time, it is instrumental cantilena features, flexible correlation of the background and the relief, improvisation and cadence principles as the constants of the primary genre that are preserved by B. Lyatoshynsky throughout the entire form of the 2nd movement, which corresponds to the suite principle as stated in the subtitle of this music piece. The Nocturne begins with an eight-bar introduction, built in a three-component manner: Violin 1 and Viola play figurations with eighths, and the "high" cello plays a rhythmically refined melodic theme, which goes on to Violin
1 (Piu mosso section) in a slightly modified version.
The theme of the violin has a cadenza-like character; it begins from the "top" or the "source". Its segments are imitated in other instruments, reaching the depth of the texture. After another small cadence, in which we can see the texture diminuendo, and a four-voice texture transforms into short motifs of viola and cello, the reprise of the first theme begins; it is accompanied by the figurations and both Violin 1 and
2 parts taken from the introduction (2 bars before the rehearsal mark 20). Here, there is a transition to the second section of the ternary form (with Con agitazi-
one Doppio movimento as the author's note), based on modifications of the texture and thematic material of the first section (starting from the rehearsal mark 30). This, in particular, is the rhythm formula of the triplets, which is presented here in a consolidation of the top three voices against the ostinato of four different rhythm motifs played with eighths and sixteenths in the Cello part. Then begins the phase of development of this material using the polyphonic techniques that are typical for B. Lyatoshynsky's quartet writing manner. After reaching the "local climax" (3 bars to the rehearsal mark 40, the Poco tranquillo, cantabile as the author's remark), the free canonical conducts of the second theme, accompanied by the figurations of the "nocturnal" background, begin to appear. After the reprise of the initial second theme (3 bars to the rehearsal mark 50), the first section of the form is returned (bar 60, Tempo primo Lento), where a new variant of voice combination is presented: the theme is played in two octaves by Violin 1 and Viola parts, accompanied by the figurations in Violin 2 and Cello parts. At the end of the 2nd movement, the parts of quartet voices play the figurations from the introduction, which ends this part (the author's note is Rite-nuto, dim. Poco a poco).
Talking about the performance features of "Nocturne", the complexity of the rhythm should be noted first. This is intensified by the frequent use of high positions. For this purpose, using the genre specificity, the performers have the opportunity to use rubato, which makes it possible to more clearly reproduce the picture of each individual rhythm formula. Some difficulties also arise in the performance of "distant jumps" (using rubato also helps here), as well as the chromatics which are used to enrich the phases of the material development in "Nocturne". Some difficulties also arise in playing the unison, which is caused by high registers and chromatics, as well as inter-octave duplication (which is sometimes quite wide - up to two or three octaves).
The 3rd movement, "Scherzo" (Allegro assai quasi presto, 6/8, extended tonality in D, complex ternary
form), combines genre traits of scherzo and toccata. Here, we can feel the influence of Ukrainian folk instrument sources, which will become even more typical for B. Lyatoshynsky's quartet style. The textural element that organizes the form of "Scherzo" is the triplet rhythmic figuration, which has the function of texture thematism and acts as a full-fledged formation impulse along with melodically large-scale themes.
The figuration follows from the original multi-sounding chord onff, which immediately introduces the atmosphere of the instrumental performance. There are two layers in the texture - the rhythmic figurative and the melodic thematic one, which are then transferred from one "floor" of the vertical structure to another. The melodic thematic layer is first introduced by Viola and Cello parts (bars 3-6), and the figurations of both Violin 1 and 2 parts are interrupted by a chord insert (bars 9-10). All this is complemented by markatissimo technique in loud dynamics, which offsets the effect of a concert competition of instrumental groups in a folk ensemble. After several variations of this texture material, the first climax occurs (rehearsal mark 30), where the multisound and monorhythmic chord tutti is established first. Then, a new type of texture presentation emerges, where the triplet figuration is transformed into a syncopated background of the accompanying ostinato in Violin 2, Viola and Cello parts. Against this background, the second theme played bv Violin 1 part appears (rehearsal mark 40), which has a lyrical ludic character, though it is based on the same phrases as the first theme. The presentation of the second theme topic leads to another burdon in Violin 1 part this time. The theme resembles the constant sound of one string on the Ukrainian wheel lyre.
4 bars before the rehearsal mark 50, after the decrease in volume to pp, a revised reprise of the first theme follows. Here, the essential point is the motif thematic development part, which results from the variational development of the material. Its development leads to a new climax, where the pattern of the background component of the texture is changed:
instead of triplets in both Violin 1 and 2 parts, there is the canon played in a diminished second on the motifwith octave transfers of the main sound. "Free" canons and imitations continue to emerge in the final section of the ternary form of "Scherzo" (rehearsal mark 100; the author's note is - accelerando poco apoco assai). Vertically, the chordal variant of presentation of the first theme dominates here, combining with other textural and harmonic formulas in both vertical and horizontal directions. The reprise of the second theme (2 bars to the rehearsal mark 140) coincides with the coda, where they both consistently appear; in the last bars, they seem to be drawn to the monorhythmic presentation of triplets, which finally demonstrates the genre of toccata (rehearsal mark 170), the interchange of octave unisons and fifths in the parts of all instruments with crescendo and ritenuto - up to the last bar, with prestissimo as the author's note.
Talking about performance, "Scherzo" is quite complicated, first of all, because of the fast tempo, in which one must constantly keep the toccata figure played in triplets, or think of it even when it is not really represented in the text. Fast movement also makes it difficult to perform double notes and chords, as well as different rhythmic groups, again complicated by the chromatics.
The 4th movement, "Intermezzo" (Allegro non troppo, 6/8, expanded tonality with center in As, complex two-theme ternary structure with variational repetitions of the sections) continues the line of the previous "Scherzo" movement, but adds the hints of restrained expression. By its stylistics, "Intermezzo" resembles baroque examples of similar movements in sonatas and da camera concertos, which corresponds to the author's design of this quartet suite.
The theme of the first section is initially constructed as a duet of Violin 1 and Viola ("wavy" in texture and dynamic inflection figurations of sixteenths). Starting from the 15th bar, the melody theme goes to the cello and is played in a reversal: the downward motives are replaced by the ascending
ones and vice versa. Starting from the rehearsal mark 20, the same variant of the theme in Violin 2 part is introduced by the canon, followed by a further reduced variant of the theme in Cello part. From bar 6 of the rehearsal mark 20, the first version of the melody theme appears, which is performed in both Violin 1 and 2 parts, and seems to solidify on the sustained sound (2 bars before the rehearsal mark 30). This concludes the reprise section of the first theme, from which only the figuration of sixteenths remains; then, it is transmitted from Viola part to the octave unison of all instruments. The active divertimentary material seems to be dissolving into pp: at the end, only quadruple of sixteenths in Cello is left. Next comes the contrasting second theme, which shows the other stylistics, which is now close to the sound of harmonic instruments - an organ or cembalo. The second section of the "Intermezzo" form is based on a chordal (choral) texture, which brings a significant contrast to the previous presentation (4 bars to the rehearsal mark 40; the author's note is Tranquillo ma sempre con moto). Within the synchronous motion of fourths in all quartet voices, a contrasting polyphony arises here, consisting of different melodic patterns of each parts that are arranged through the dissonant harmonic vertical structure of the second-septic construction.
Starting from the rehearsal mark 50, the middle part of a simple ternary form of the second section of "Intermezzo" begins, based on contrasting comparison of "choir verticals" with the figurations of sixteenths taken from the first theme. The middle section ends with their presentation from top to bottom in all parts of the ensemble, followed by a reprise of the whole form (rehearsal mark 60), where the presentation of the theme is entrusted to Viola accompanied by the figurations in Cello part. Further, as in the exposition, the theme is performed in an inversion with using imitations. From the rehearsal mark 80, the intense polyphonic development of the material leads to a general climax of this part, based on the key motifs of the first theme played in f. Further, as in the
exposition, the figure of the sixteenths is performed by the octave unisons in pp, which plays the role of texture thematism in "Intermezzo" and hardens the whole piece. Then begins the coda, which first looks like a repetition of the second section with a "choral" theme, which is dynamized by the introduction of supporting voices of eighths (i.e. polyphonized). After that, there is a final dialogue of "choral" and "ludic" phrases and motifs with the return of the initial duet of Violin 1 and Viola parts (Tempo I. 4 bars before the rehearsal mark 110), where the melodic theme is gradually divided into fragments: firstly, the three-beat one, then the two-beat phrases, and later - the three-tone and the two-tone motives. All this happens at a decrease in volume to pp (the author's note here is poco a poco diminuendo) and ends with a solo viola playing the figurations of the sixteenths (texture thematic "arch" of the "Intermezzo" form).
Talking about performance, "Intermezzo" requires a clear reproduction of the features that build its form, where the sections are separated and as the same time connected by a common line of continuous polyphonic development. Attention is drawn to the difficulty of performing the figurations of the sixteenths that are played with legato technique. It requires a smooth transition between the strings, also taking into account the wide "stretches" of the left hand.
The 5th movement, "Postlude" (Allegro impetuoso, 4/4, extended tonality with the center in d, simple ternary form ofABA type), has the function of a finale, which even contains the element of pompousness and corresponds to the logic of sonata symphonic development that is inherent to this Quartet Suite, as well as to B. Lyatoshynsky's Quartet way of thinking in general. In the "Postlude", as it is a final movement one can find reminiscences of the material from the previous movements, in particular, the first and the second. These are mostly texture formulas, including polyrhythmic background ostinatos with a combination of triplets and quadruplets, which in this quartet cycle play the role of a continuous textural monothematism.
Exactly with this formula, after the active "takeoff" of the thirty-seconds, the presentation of the first section of "Postlude" begins. The texture here is divided into different functions by layers: both Violin 1 and 2 parts have the ostinato, constructed on the principle of the canon by a vertical comparison of quadruplets and triplets; the cello demonstrates the mournful sound first, then connects as a counterpoint to the melody theme assigned to Viola part. Further, this material is repeated and simultaneously developed. The theme of the viola is imitated in Violin 1 and then in Violin 2 part, whereas the background figuration is transferred to Cello in a new (harmonious) version. The first section of the "Postlude" form ends with "dissolving" the thematic relief in the background, which is typical for many of B. Lyatoshynsky's quartet themes. But, the accompanying texture components are always thematically important, serving to withhold a single line of material development in the form of both the individual parts and the whole cycle. Here, it should be noted that "thematized" backgrounds are represented in two variants: "rhythmic" (repetitions on one sound or a short melodic motif of two or three sounds with a defined rhythm, often different if they are performed by several instruments) and "harmonic" (monorhythmic movement on the chord sounds, most often with changes of harmony, which is especially indicative for accompaniment of cantilena themes, such as in "Nocturne").
Returning to the analysis of the "Postlude", we should describe the theme of the second section, born precisely from the harmonious figuration in Cello part, with fermata on the last sound (end of bar 23). This theme contrasts with its previous songlike lyrical character, though based on its intonation, which means that there is a derivative contrast even in a simple ternary structure. The second theme, which is presented in the Cello solo part (bar 24), then begins to overgrow with motifs of both Violin 1 and 2 parts that imitate each other, which eventually leads to repeating it in Violin 1 part (2 bars before
the rehearsal mark 30). The whole texture acquires a melodic and a thematic meaning and acts as a polyphonic combination and imitation of the thematic motifs and phrases, which, however, lasts only for 4 bars - before the rhythmic figurations of triplets in Violin 1 and 2 parts appear, with the motifs in Viola part on the background (from bar 32; the author's note is espressivo). The melody theme of the second section is performed once again in the short version, in phrases imitated by different voices of the quartet. Serving as a conjunction, it goes just before the reprise of the first section of the ternary form, the introduction of which is the climax of the Quartet final part (rehearsal mark 40, and then ff). At the end of the form, the material of the first section with a small coda is completely brought back. Finally (rehearsal mark 50), there is a triplet and a scale-like rising sounds, aimed at the establishing of the tonal center of the whole form - the tonic "d".
Considering the performance features, this Quartet Suite contains a number of difficulties related primarily to the rhythm. This applies both to the rhythmic pattern in individual parts, which is quite variable, and to the of B. Lyatoshynsky's poly-rhythmic style of writing, where he combines the texture layers vertically and diagonally. For example, the figurative background of Violin 1 and 2 parts, accompanied by the first theme, has such a structure that performers can consider as purely linear, without focusing on the coincidence of metric accents when playing it together). The same applies to other cases of texture stratification, in particular, the continuous thematization of material in the texture vertical structure, in the presentation of the second theme, where the composer simplifies the rhythmic background for expressing the melodic motifs, in particular, in the Viola part, which in can be considered as a dominant instrument in "Postlude".
Conclusions. Quartet No. 3 makes us rethink the role of those principles that were considered as foundational ones of the genre. First of all, we are talking about the motive development in the
material presentation, as well as the means of "compensating" for its absence, which helps to preserve the expressive dynamics in the context of the suite construction. This is achieved through even greater harmonic sharpness of vertical combinations in the structure, which is created by the interaction and alternate use of chord harmonic and linear polyphonic means. All five parts of this Quartet Suite - "Prelude", "Nocturne", "Scherzo", "Intermezzo", "Postlude" -have their own set of rules in the organization of texture harmonic (Ignatchenko [4]) and texture polyphonic (Tsurkanenko [8]) complexes that are
appropriate to the genres declared by the author. The Third Quartet demonstrates yet another significant quality of B. Lyatoshynsky's chamber ensemble writing style of1919 s to 1930 s - the composer's desire to make ensemble parts independent, treating each of them as a solo part that would contain all the attributes of this kind of music playing with a sufficiently high level of virtuosity. The latter idea adds even more complexity to the musical language of the Third Quartet, which in a sense is a compendium of the author's former creative ambitions in the chamber instrumental genre in general.
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