Great miniaturist: folk song and the reflection of its genetic origins in the arrangements of A.K. Lyadov

The article is devoted to the study of one of the most interesting facets of the composer's work -the processing of folk songs, which were for him not only a creative laboratory, but also a completely independent genre sphere of creativity. A historical panorama is considered, against which a truly peasant folk song began to find a new life. The author notes that the search for stylistically accurate, aesthetically weighted and artistically justified solutions when working with a folklore source became the general direction of the activities of A.K. Lyadov's older contemporaries in the arrangement of folk melodies. Creativity of the composer in this sense is of considerable interest, and the author sees in arrangements of songs the reflection in them of an extremely fine genetic connection with the folklore source. It is characteristic that A.K. Lyadov used extremely simple and laconic expressive means to achieve such unity. By the time the composer turned to treatments, considerable experience has already accumulated in their comprehension from the standpoint of Russian musical folklore. At the same time, the composer succeeded in finding compositional methods that were the result of a deep understanding of the peculiarities of folk melodies with its characteristic variation, modality, and heterophony. There are no foreign elements in the arrangements of A.K. Lyadov. In combination with the peculiarities of the individual style of the "portraitist-miniaturist" a subtle artistic result is formed. Laconism and, at times, asceticism, for the benefit of the primacy of the song, noticeably distinguish the processing of A.K. Lyadov and make them "absolutely" recognizable against the background of the works of his contemporaries. The composer had his own idea about the peculiarities of the folk polyphony, peculiar to him receptions of sub-voice polyphony. This is reflected in the nature of the escort. For example, in processing lingering songs, you can notice a certain evolution. In the later collections of treatments, A.K. Lyadov's aspiration to a more individual appearance of escorts, his personalization is noticeable. The work deals with specific techniques that the composer used for this. In particular, in some treatments this is sometimes achieved by the instrumental nature of the accompaniment, as well as by subtly outlined melodies with contrapuntal ear-poles. Independence of piano accompaniment, its amazing transparency and clarity are achieved by the absence of the melody itself. The number of votes in the processing is directly dependent on the source store. An important coloris-tic technique in the processing of spiritual verses is the phonism of perfect consonances, emphasizing their asceticism, and the semantics of bell-shaped sonorities. Orchestral coloring arrangements, their instrumentalism is also an important facet of the composer's creative methods. In particular, such an effect is achieved through the use of means characteristic of folk instrumental art.

Keywords

Authors

References