DOI: https://doi.org/10.31318/2522-4190.2018.122.141807

Hennady Liashenko’s «Technems» for winds incontemporary context of Ukrainian instrumental music

Yaryna Denysenko

Abstract


Relevance of the study. The main direct of the European instrumental music development is a genre and stylish synthesis. A lot of contemporary oboe solo and ensemble with oboe works by Ukrainian composers are signed by those charakteristik. For example, the cycle of «Technems» by H. Liashenko from the five instrumental concert pieces, – hich have inside two original composıtıons wıth oboe, – take an important place in the composer’s creation; this pieces are known as the wide examples of contemporary concert repertuar for ensembles. They present a new kind of chamber music which was beginning with the Liashenko’s «Technems», and it’s not researching enough till now.

Main objective of the study is to pay attention to this new and original genre for ensemble with oboe – «Technem № 1» for wind quintet and «Technem № 4» for oboe and fagot as soloists with the baroque symphony orchestra. Methodology The provident in this study is the comparative analyses’ method. How the study was done. The «Technem № 1» for wind quintet we’re noting as the stylish unite. It’s based on individual composer’s meaning about the melodically uniting of the themes and about it’s rules. The important direct of studying in Liashenko’s works is his meaning about «growth in form»: the whole is growth from one element. Thanks to using those principal means in his compositions, work’s structure look like the one qualities unit, while inside ones we can find a different types of intonations and of stylish elements.

Results and conclusions. The sphere of wind concerts is continue by «Technem № 4», which seems as a double concert for oboe and fagot. It is the next step in the composer’s process, when the main characters of stylish synthesis are seeing on the level of intonation, form and shows the kind of nearby connections between romantic and baroque. Practical significance. The well-known connective tradition «performer – author – performer» is actually till today, and sometimes we can trade it as the corporative form of interpretation as creation.


Keywords


oboe; fagot; wind quintet; double concert; style; instrumental genres; baroque

References


Denysenko, M. (2009), “Traditions of European culture in works by Hennady Liashenko for wind instruments”, Naukovyj Visnyk Nacionaljnoji muzychnoji akademiji Ukrajiny imeni P.I.Chajkovsjkogho [Scientific Bulletin of the National music academy of Ukraine named after P. I. Tchaykovsky], vol. 83, Kyiv, p. 51-62 [in Ukrainian].

Rzhevska, M. (2008), “Musical world of Hennady Liashenko”, available at: http://slovoprosvity.org/2008/01/30/145-old/ (accessed: 16 feb 2018) [in Ukrainian].

Rzhevska, M. (2013), “Features of symphonic art by Hennady Liashenko”, Mystectvoznavchi zapysky [Art-Studies Notes], vol. 24, p. 3-8. [in Ukrainian].

Sacheva, T. (2008), Pages of music by Hennady Liashenko, available at: http://www.umoloda.kiev.ua/number/1315/164/46426/ (accessed 16 February 2018) [in Ukrainian].


GOST Style Citations


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Ржевська М. Музичний світ Геннадія Ляшенка. URL: http://slovoprosvity.org/2008/01/30/145-old/ (дата звернення: 16.02.2018).

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Сачева Т. Сторінками музики Геннадія Ляшенка. URL: http://www.umoloda.kiev.ua/number/1315/164/46426/ (дата звернення: 06.02.2018).





ISSN 2522-4190 (print)
ISSN 2522-4204 (online)