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Раздел 2. Музыкальное искусство Section 2. Musical arts
UDC: 78.082.1:781.63 DOI: 10.29013/EJA-21-3-27-33
O. M. BATOVSKA, 1
1 Kharkiv I. P. Kotlyarevsky National University of Arts, Kharkiv, Ukraine
SPECIFICS OF TIMBRALLY-TEXTURAL DEVELOPMENT IN SYMPHONIC AND OPERA WORKS BY V. HUBARENKO
Abstract
Objective: to reveal genre, stylistic, structural, dramaturgical and idiomatic traits of several orchestral and opera works by V. Hubarenko and their embodiment in textural and timbral means.
Methods: elementary-theoretical and structural-genetical analysis and synthesis, historical, comparative, method of abstraction and concretization, induction and deduction.
Results: following pieces by V. Hubarenko were considered during this research: First (1962), Second (1965) and Third (1974) Symphonies, "Concertino" for symphonic orchestra (1963), Chamber symphony No. 1 (1967), Symphonic picture "Kupalo" (1971), opera-ballet "Viy" (1980). These works written during 60s-80s are demonstrative in terms of specifics of timbral-textural development and timbral dramaturgy. The research revealed that intrusion of theatrical features into symphonic music and vice versa is a marker ofV. Hubarenko's style in the scope of Ukrainian musical arts development trends of 60s-80 s times. Textural and timbral means play significant role as factors of the dramaturgy of works considered, stabilizing and transforming genre models used by the composer.
Scientific novelty: in this article at the first time proposed a view on textural and timbral means (therefore, the orchestral style) as a reflection of dialectical interaction "the artist - the environment" in the art ofV. Hubarenko; also, at the first time provided generalized characteristics of the timbral dramaturgy specifics in V. Hubarenko's orchestral art, which is done on the base of the analysis performed.
Practical significance: the results received could help in further study of orchestral thinking regularities and artistic processes related to them in the context of interaction between the artistic individuality and the outer world; also, the information provided could be useful for performers and conductors who will work with compositions by V. Hubarenko and other Ukrainian composers of 60 s-80 s epoch.
Keywords: Ukrainian music, symphony, opera, orchestra, texture, timbre, instrumentation, timbre dramaturgy, V. Hubarenko.
For citation : O. M. Batovska. Specifics of Timbrally-Textural Development in Symphonic and opera Works By V. Hubarenko // European Journal of Arts, 2021, №3. - P. 27-33. DOI: https://doi.org/10.29013/ EJA-21-3-27-33
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Introduction. The name of Vitalii Hubarenko is a synonym for the one of crucially important pages in a history of Ukrainian musical and theatrical life. His creativity is marked by a relentless search of possibilities to modernize symphonic and opera genres. Following the best traditions of Ukrainian musical culture, the composer developed his own unique style. Symphonic music in V. Hubarenko's creativity is represented in various ways, through works of different genres (such as symphony, symphonette, chamber symphony, symphony for an orchestra and a male choir, vocally-symphonic genres etc.). But it is symphony that concentrates artistic search of V. Hubarenko in such spheres as genre modelling, dramaturgical and expressive functions of timbre and texture, usage of modern means of musical language and speech. Symphonic works of the composer are bright exemplification of general tendencies of Ukrainian music's development in the 2nd half of XX century.
Discussion. Overall, symphonic music, represented in this paper by three works, demonstrates specifics of composer's orchestral thinking, merge of typical and innovative principles of symphony's genre-stylistic invariant, textural and timbral premises, which directly influences compositionally-semantical, compositionally-structural and dramaturgical processes of the studied works.
V. Hubarenko's aspiration to realize himself through creation of large-scale works for orchestra has been already apparent since the period of his education at Kharkiv Conservatory [1, P. 20]. Any composer writing such works must operate a specific type of symphonic thinking on musical "structural levels", which are defined in musicology as sonic, intonationally-linguistic, textural, compositional ones (according to the definition given by S. Shyp) [2, p. 40-42]. In the works regarded in this article these means become an integral reflexion of author's Ego [1, P. 108]. Also, interaction between a composer and "outer" world, diversity of existential dimensions in which personality of an artist manifests and develops itself is very important; it includes communication and cooperation with conductors, performers and musicologists. M. Cherkashina-Gubarenko states: "Contacts and friendly communication with prominent musicologists (the first interpreters of his works) played an important role in artistic destiny ofVitalii Hubarenko (1934-2000). Their initiative and outstanding talent were inspiring the composer, were serving as a stimulus for artistic growth, were promoting his music in Ukraine and out of native country borders" [3, P. 170]. Therefore, an interaction
between the composer's Ego and the outer artistic dimension forms an integral complex, which directs artistic intentions of the personality and hence influences on composer's works content and on what means of musical language were used for their creation.
Dramaturgical development of the work, graduality of unfolding of composer's creative aspirations find their embodiment on the level of textural and timbral premises. In V. Medushevskiy's interpretation texture is "intonation-ally organized "fabric" of the music" [4, P. 105], which means direct connection between the texture and author's intentions. At the same time, as pointed out by V. Tsukker-man, timbre has a certain degree of functionality regarding the texture [5, P. 343] and embodies composer's coloristic vision ofhis own work. This leads us to the concept of timbre dramaturgy, defined by R. Terteryan in the following ways: as a "system of timbral development", as a separate "subsystem of complex of all the means of musical expression", as a "subsystem of musical dramaturgy" [6, P. 26]. These devices are meant to emphasize tension or statics in music, contribute to "personalization" ofthemes (through usage of certain timbres in leit-motives and characteristic rhythmically-harmonical arabesques) as well as to linking of structural episodes, providing dramaturgical development according to the principle of throughout unfolding or contrary, fragmenting.
Usage of symphony's genre traits is rather typical for Ukrainian opera works of 60 s-70 s, as it is one of stylistic tendencies of that time. On the other hand, reverse influence can be traced, as principles of operatic thinking find their way into symphonic genres. The principles of instrumentation play important role in this process. It is noteworthy that V. Hubarenko was a student of celebrated representative of Ukrainian (to be more precise -Kharkiv) compositional school D. Klebanov (who was dubbed by his contemporaries "Ukrainian Shostakovich", who formulated his approach to instrumentation in the following way: "Instrumentation is a somewhat borderline domain of the composer's and performer's creativity <.. .> expressive means of musical instruments and singing voices influence the music and, in their turn, experience their influence" [7, P. 3]. The artist defines the functions of instrumentation as well: coloristically-char-acteristic ("the choice of an appropriate timbre can show the character of music <...>, amplify its dramatism or reveal its comic traits"), form-creating (through "juxtaposition of timbres instrumentator consciously splits the musical fabric and reveals logical links between fragments
of musical form as well as between constructions of different scale") [7, P. 3], "The texture can "paint" and direct character of image, traits of structure and syntaxic structure of music in a necessary way <...>. To change the texture is the same as to change the interpretation of the music" [8, P. 13]. So, it does not come as a surprise that in his symphonic works V. Hubarenko demonstrates skilful management of orchestra's coloristic potential, its timbrally-textural functions, directly influencing musical content and form. First thing immediately drawing attention is a usage of supplementary woodwind and various percussion instruments, caused by a composer's desire to enrich orchestral dramaturgical potential.
The capabilities of instruments, chosen by the composer for a given piece, can be seen already on the first pages of the scores, where the structure of the orchestra is shown; this allows to comprehend the timbral devices which V. Hubarenko used in order to incarnate his ideas in sounds. For instance, in the First Symphony (1962) the composer indicates necessity to use Flauto piccolo and Clarinetto piccolo (clarinet in Es) on the top of already present two flutes in clarinets in B. The orchestra must have three Trombe in B; the composer also uses a large quantity ofpercussion instruments, whose variety is needed to create a specific colour in different episodes of the structure; other additions to usual orchestral instruments are a harp and a piano, with their characteristic timbres bearing certain orchestral functions. In the Second Symphony (1965) only Flauto piccolo and third Tromba in B are added, the percussion group is somewhat diminished compared to the First Symphony, but a harp and a piano are also present. Thus, in earlier First and Second Symphonies (1962 and 1965, respectively) the author is satisfied with extended "pair" orchestra with addition of supplementary woodwind and percussion instruments. At the same time, the Second Symphony, unlike the First one, has clearly defined programmatic basis (a Neo-Classical one), straying away from four-movement symphonic "standard" (which is observed by the First Symphony). Also, the titles of the movements in the Second Symphony ("Prelude", "Sonata" and "Fugue") indicate a certain degree of autonomy of these movements, which might be interpreted as a genre trait of a suite.
From the standpoint of form-creating, the First Symphony consists of four movements, thus being in accordance with traditional for Classicism and Romanticism model of symphonic cycle with such functions of the movements as dramaturgical centre of "action",
slow lyrical movement, Scherzo. But we must indicate a special role of epically-narrative type of musical expression. The first movement starts with a slow introduction, song-like theme is given to Flauto I solo. Certain textural characteristics of the principal theme (such as usage of fourths in interval structure, "calling" intonations, usage of timbres of woodwind and brass instruments) are understood as sematic markers of heroicism in the broadest interpretation. In line with the traditions of epic symphonism, heroic intonation of the principal theme is ousted by cantilena of the secondary theme, where the composer used polyphony of subsidiary voices and rhythmical ostinato. The second movement is a genre one, as it reveals the signs of a waltz in various semantic connotations. This is underlined by timbres as well: the theme of a lyrical waltz is played by Clarinetto in B, while the theme of a grotesque one is performed by the brass section. The playful function of the movement is present both in genre nature and on the level of harmonical and key syntax (a - F - B flat - Es - a), what is especially obvious in the Coda of the second movement. The third movement, Andante, has the manner of narrative epical dramaturgy, which in the given context can be associated with such Ukrainian national genre as duma. The Finale has pompous, elevated character, correlating with traditions of Classical-Romantic invariant of a symphony.
Allusions to attributes of Baroque stylistics in the Second symphony (1965) are incarnated in all three movements of the work. In the first movement, "Prelude", Andante risoluto, the composer in a unique manner "plays" with epochal style, which can be seen on the level of thematicism (folk-song basis and blurring of formal borders). As in the First Symphony, the composer actively uses the timbres of woodwind and brass instruments. Opposition of contrasting elements illustrates multi-dimensionality of the time and generates intertex-tuality in its broad sense, incarnating the multi-faceted nature of life. Kaleidoscopic qualities can be seen in a dramatic principal theme (constituted by two contrasting elements); it is ousted by a pastoral theme, characterized by the timbre of woodwind instruments and usage of polyphonic technique. Gradually, polyphonic texture transforms into a chorale, and after that it is replaced by texture representing genre traits of march, using respective timbres (such as trombones with their established semantic). The second movement, "Sonata", Allegro energico, embodies conflictual model of worldview. Active and forceful principal theme in timbres ofwoodwind and
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brass instruments (including the low register) depict tension of existential search for a human in the world; incidentally, such a kind of musical dramaturgy J. Langford defines as a specific feature of "The Symphony of Modern Era" [9, P. 181]. The third movement, "Fugue", Soste-nuto, is a philosophical generalization, embodying reflective worldview, contrary to established semantics of the Finale of Classical-Romantic invariant of a genre. From this standpoint, we can say that the Second symphony by V. Hubarenko enters a dialogue with the First Symphony by V. Sylvestrov (1964), where the latter composer also uses Baroque genres. Three movements ofV. Sylvestrov's First Symphony also bear programmatic titles of Neo-Baroque thematic, "Sonata", "Concerto" and "Fugue". At the same time, V. Sylvestrov's appeal to Neo-Baroque stylistics in this symphony can be attributed as external, rather than internal, which supposes thematic and dramaturgical principles. Besides that, allusion to Baroque musical idiom gave the composer an opportunity to find his own path in a symphony genre, which would differ from established invariant, since "Neo-Classicism motivated to step aside from the genre of Large-scale Symphony" [10, P. 110] and opened new possibilities for free and unrestricted music-making. Thus, we showed that the First symphony by V. Sylvestrov is founded on influential "play" source, which shows itself in a range from the play with Baroque genre, stylistic allusions to grotesque and fairy tale-fantastic images. All the traits listed above indicate prominent role of humanitarian image in the conception of the First Symphony, "Homo Ludens". But in V. Hubarenko's Second Symphony the choice of Finale-centred models betokens mostly reflective origin, not the play one, which illustrated existential search for a human in the art of 1960 s.
We should list some examples of V. Hubarenko's single-movement symphonic works, first of them being "Concertino" for symphonic orchestra (1963), carried out in a "chamber" variant of orchestra: one of every woodwind instruments; Corno in F, Tromba in B and two Tromboni being the only brass instruments used; the percussion group is reduced to only Timpani and Campanelli; but the Piano is still present. Thus, this piece can be interpreted as an example of "small symphonic form" with "chamber" flavour, which applies the idea of throughout development. As another example of single-movement symphonic work we can regard Symphonic picture "Kupalo" (1971), which is an embodiment of brilliant and outstanding representation of folklore
theme, using throughout development as well. In order to materialize this idea, V. Hubarenko found necessary to strengthen the woodwind section by adding Flauto piccolo and Corno inglese, as well as by inclusion of Tromba in B, Arpa, Pianoforte and large number of percussion instruments in the orchestra. Enriching of the flutes and oboes by supplementary instruments was apparently caused by the composer's intention to make these instruments the bearers of the folkloristic programmatic image.
The idea of symphonic work for orchestra and solo instrument is embodied in the First Chamber Symphony for violin with orchestra (1967). This work became a referential point for V. Hubarenko's interpretation of the genre, as the composer created four Chamber Symphonies for string instruments with orchestra in the timespan of 1967-1996. The large-scale virtuoso work for violin and orchestra obviously stems from concerto genre nature, but in this case "it is concert origin that submits to the logic of symphonic thinking" [1, P. 69]. Not only does Violino solo "compete" with the orchestra, but also becomes an element of symphonic dramaturgy (among comparable examples from the earlier music one might call H. Berlioz's Symphonic poem "Harold en Italie" for Viola and orchestra, 1834). The composer also tends to "retain big orchestral apparatus but reject global conceptions" [1, P. 70]. But even using the large orchestra, V. Hubarenko keeps such quality of his music as "intimate" expressive intonation.
V. Silvestrov's symphonism in the context of Ukrainian school of musical composition was not accidentally mentioned before in this article. It is as indicative as V. Hu-barenko's symphonism in the terms of artistic seeking of composers of that time, which were directed to find ways to rebuild tradition genre models. S. Shchelkanova states: "All novative aspects in the genre reading, as well as creating of a new world view, are born thanks to the genius composer's efforts by means of his overcoming a canon" [11, P. 274]. This passage addressed to V. Silvestrov's works could be applied in full measure to the art ofV. Hubarenko; a shining example of it is his Third Symphony for symphonic orchestra and male choir (1974). It seems to be one of the most complex work, generalizing earlier composer's symphonic findings. This Symphony was created based on the music to T. Levchuk's film "Duma about Kovpak" ("Dumapro Kovpaka") [1, P. 9]. The composer needed to use an orchestra with triple woodwind structure and supplementary instruments (in the clarinets four instruments are used, two Clarinetti piccolo in Es, two
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Clarinetti in B, Clarinetto basso in B, the last one playing the part of additional third clarinet), wide variety of percussion instruments, Celesta, Arpa and Pianoforte. This structure is quite similar to orchestras used by G. Mahler and R. Strauss, but the brass section is not increased in size, except for additional third Tromba in B. But even without significant additions to the brass section, the strings still must be used in a larger number ofperformers for the sake of balance. The Third Symphony has such special feature as important programmatic content, to embody which a special element of musical language was used, a male choir, realizing poetic component as a tool ofplot and dramaturgy. Due to usage of a verbal text, the programmatic content causes coloristic type of symphonic development and brings the work closer to the genre of oratorio [1, P. 9].
Such expansion of coloristic potential and obvious programmatic basis causes theatralization, or in other words, "opernization" of the symphony. Thus, regarding the creativity of V. Hubarenko, it is possible to discern a process of diffusion between opera and symphony, as the symphonism as a method of development becomes typical for opera works and vice versa, operatic principles enter symphonic dramaturgy. This clears ways to new opportunities for a composer in terms of textural and timbral means, because synthesis of these two genre-stylistic spheres provides an access to utilizing principles of "combinatorics" and "multifigure techique" (terms by
H. Savchenko) in orchestral composing. These principles are investigated in quite detailed view on the example of
I. Stravinsky's art in researches by H. Savchenko [12; 13] and they could be find in works by V. Hubarenko as well.
Thus, it is quite logical that all the findings of V. Hubarenko become a basis for composer's further "experi-
ments" in creation of synthetic genre models. Textural and timbral principles play important role not only in the composer's symphonic music, but also in his opera works, particularly, in ballet instrumental interludes of emblematic for V. Hubarenko work "Viy" (1980, which he himself defined as "opera-ballet"). H. Polianska notes that "based on the achievements of his precursors V Hubarenko found his model of a mixture, showed polar forces and their independent action in different spheres" [14, P. 199]. Using double genre personae of symphonic works, the composer embodies the ideas of genre synthesis, which is reflected in instrumentation. The example of ballet interludes of opera-ballet "Viy" demonstrates a "mixture" ofvocal and instrumental types of themes, which combines diatonic and chromatic mode systems. In a spacetime dimension the composer embodies this idea in textural and timbral layering, as one can feel illustrative elements in the score (glissandi, rapid passages, heterofonic 'lines", tremolo, orchestral pedal), which are the signs of Scherzo, Toccata, dance-like genres, which is relevant given this is a ballet genre. We should also add that textural and timbral devices become an effective tool for stylization, adding new colour to modally-harmonical content, enriching of the sound fabric with phonic qualities, which reflects modern tendencies of development in modern music.
Conclusion. Specifics of V. Hubarenko's timbral dramaturgy acquires significance of a marker of the composer's style, which stabilizes and transforms genre models, employed by the artist. Utilizing coloristic and form-creating functions of instrumentation, the author embodies principles of his own orchestral thinking. Consequently, it contributes to the goal of artistic expression and representation of the composer's idea.
References
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Information about the author
Batovska Olena Mykolaivna, doctor of Arts, Professor, associate Professor of the Department of Choral Conducting, Faculty of Performing and Musicoogy, Kharkiv I. P. Kotlyarevsky National Univesity of Arts
Address: 160H Academic Pavlov's Str., 61144, Kharkiv, Ukraine
E-mail: [email protected]; tel.: +38 (099) 955-42-68
ORCID: 0000-0002-1435-1245
БАТОВСЬКА О. М., 1
1 Харшвський нащональний утверситет мистецтв iM. I. П. Котляревського, XapKie, Украша
СПЕЦИФ1КА ТЕМБРО-ФАКТУРНОГО РОЗВИТКУ В СИМФОН1ЧНИХ ТА ОПЕРНИХ ТВОРАХ В. ГУБАРЕНКА
Анотаця
Мета: виявити жанрово-стильов^ структурно--драматурпчт та MOBAeHHCBi особливосп деяких симфошчних i оперших творiв В. Губаренка та 1хне втгАення у засобах фактури i тембру.
Методи: застосовано метод елементарно-теоретичного та структурно-генетичного аналгзування та синтезу, шторичний метод, порiвняльний; метод абстрагування та конкретизацп, шдукцп та дедукцп.
Результати: у ходi досл1дження розглянуто HacTynHi твори для симфошчного оркестру В. Губаренка: Перша (1962), Друга (1965) та Третя (1974) Симфон!!, «Концертино» для симфошчного оркестру (1963), Камерна симфотя No. 1 (1967), Симфотчна картина « Купало» (1971), опера-балет « Вш» (1980). Цi твори, напиcанi протягом 1960-80-х рок1в, е показовими в план! cпецифiки тембро-фактурного розвитку та темброво! драматург!!. Виявлено, що проникнення ознак театральноcтi в cимфонiчнy музику та, навпаки, рис симфошзму в оперну музику е маркером оркестрового стилю В. Губаренка у межах тенденцш розвитку укра!нського музичного мистецтва 1960-1980-х. Засоби фактури i тембру в1д1грають важливу роль як фактори драматурги розглянутих в статп творiв, cтабiлiзyючи та трансформуючи жанровi модел1, yживанi митцем.
Наукова новизна: у статп вперше запропонований погляд на засоби фактури та тембру (а отже, оркестровий стиль) в творчоси В. Губаренка як в1ддзеркалення диалектично! взаемод!! «митець - оточення»; також вперше надано узагальнююч1 характеристики специфики темброво! драматург!! в оркестровой творчост1 В. Губаренка, що вибудовано на основ! проведеного анал1зу.
Практичне значення: отримаш результати можуть сприяти наближенню до вивчення законом1рностей оркестрового мислення та повязан! 1з цим творч1 процеси в контекст1 д1алектики взаемод!! м1ж творчою шдив1дуальшстю та навколишн1м св1том; також, надана 1нформац1я може бути корисною для виконавц1в та диригент1в, як1 працюватимуть з творами як В. Губаренка, так й шших укра!нських композитор1в епохи 1960-1980-х.
KAMHOBi слова: Укра!нська музика, симфон1я, опера, оркестр, фактура, тембр, шструментування, темброва драматург1я, В. Губаренко.
Iнформацiя про автора
Батовська Олена Микола'вна, доктор мистецтвознавства, професор, доцент кафедри хорового диригування, виконавсько-музикознавчий факультет, Харк1вський нац1ональний ун1верситет мистецтв 1м. I. П. Котляревського Адреса: Укра!на, м. Харк1в, вул. Академ1ка Павлова, 160Г, 61144 E-mail: [email protected]; тел.: +38 (099) 955-42-68 ORCID: 0000-0002-1435-1245
