Specificity of song and dance genre in the button accordion music by Anatoly Haidenko
In recent years, there has been an increasing interest in button accordion arts of Ukraine and other countries. In the modern button accordion performance it is becoming increasingly popular to perform pieces based on song and dance genre of Anatoly Haidenko. However, only in modern musicology this art is starting to be fundamentally researched. An example is our doctoral thesis, which systematizes genre and stylistic approaches to the transposition of song and dance pieces in the Ukrainian button accordion art. In this paper an attempt is made to highlight the creative work of A. Haidenko in the song-dance genre and to give it an estimate from the musicological viewpoint, which is a certain scientific novelty. The object of the study is button accordion works created by prof. Anatoly Haidenko. The subject of the study is song and dance genre in button accordion compositions of Anatoly Haidenko. The objectives of this study are to determine the composer’s genre and stylistic approaches to creating button accordion samples of song and dance genre from stylization and arrangement to the genre and style transformation. These objectives predetermined the following tasks: to reveal methods and means of composer’s dance and song sources and to indicate the specificity of musical form creation and musical expression of the opuses, to demonstrate and prove their popularity in modern performance. The following methods are used in this paper: analytical, comparative-historical and structural-functional. The latter so far has not been deeply implemented in such scientific publications regarding the analysis of the system of artistic means of musical compositions in the button accordion literature. The material of the research is the sheet music of button accordion compositions by Anatoly Haidenko: “Retro-tango”, “Chora”, “Verbunk”, “Pletenytsia”, “Evening in the mountains”. Consequently, the characteristic feature of button accordion opuses by Anatoly Haidenko considered in this scientific work is the presence of both song and dance sources of thematism. In the opuses “Verbunk” and “Evening in the mountains” these features were clearly shown in an interesting combination. Moreover, the sequence of studying button accordion music compositions by Anatoly Haidenko is represented by the complication of composer’s methods of work with first sources. In the “Retro-tango”, which is a stylization, along with authentic tango, of unusual rhythm-intonation structures, spectacular phonic techniques, and a rich palette of timbers have been revealed. This stylization gained popularity among the listeners and became a telling argument of the productive interaction of academic art and genres, that belong, according to the classification of V. Konen, to“the third layer”. The traditional genre of song and dance arrangements by Anatoly Haidenko was marked by an interesting and skillful approach to the folk material, by the multi-faceted highlight of their intonations and content peculiarities. The author worked at this material by quoting and re-intoning the original sources belonging to other national cultures. For example, such pieces as “Chora”, “Verbunk”, “Pletenytsia” are bright samples of rhythm intonations and performance traditions of the authentic music of South-Eastern Europe. “Pletenytsia”, according to its genre peculiarities, is closer to the Kolo dance. In its metaphorical name it generalizes the folk dances of Balkan Slavs, which by the will of the composer are in a peculiar musical plait. The peculiarities of the authentic music are embodied through various rhythmics, rich melismatics, bellows-finger articulation, vivid register, blending of the Balkan Slavic folk intonations with the ancient musical culture. The “Pletenytsia” gained its popularity among outstanding musicians as a piece for the button accordion trio and duo. From the viewpoint of dramaturgy of the “Verbunk” especially interesting is the interpenetration of song and dance genre – a lyrico-epic folk song “Letiv syvyi sokil” with elements of a vigorous grouped dance, which reflects successive unrepeated contrasting parts: the slow part Lassa (in tempo Moderato) and the fast part Frishka (in tempo Allegro). As a result, these pieces became very popular among button accordion performers. The fantasia “Evening in the mountains” demonstrates the highest level of composer’s work at the song and dance genre. The composer used the fantasia genre, which was conditioned by the examples of temperament Caucasus dances, Italian tarantella, as well as by sacred images of lyric and epos. The lyrico-epic aura of the Caucasus is well felt thanks to the use of variable metre, grace-notes, “rubato”, colour timbres, various elements of folk songs of mountain dwellers used in improvisational music intonations. The rich timbre palette of the button accordion helped to create a peculiar phonical volume that simulates the effect of the mountain response in the polyphonic wreath of voices. A. Haidenko’s rethinking of the authentic thematic material exposed new emotional-meaningful facets of the original source, which was reflected in the use of elements of different styles, genres and forms. The indications of genre and stylistic transformation in the fantasia “Evening in the mountains” can be found in the thorough developing of thematism, unusual ways of musical form creating, in the texture full of new semantics, in modern means of the button accordion expressiveness and in multilateral reproduction of the figurative content of the original source. These artistic and expressive values led to a multifaceted and impressive transformation of figurative content and gave the piece a new artistic value and a concert life. Thus, the fantasia “Evening in the mountains” by A. Haidenko enriched the treasury of concert works not only for the button accordion duo, but also for solo performers; there are also arrangements for the folk instrument orchestra and even for symphonic orchestra. The results of the research support the idea that they can be used in educational programs in the history of performing on folk instruments, in the classes of a major instrument and ensemble. We conclude that the versatile creative work of the artist gives prospects for further scientific and practical development in the direction of studying works with signs of song and dance genres. Such hopes will in some way give an impetus to the popularization of these musical compositions even more in the pedagogical and concert repertoire among button accordionists and accordionists, and will create an increasing demand for the listening audience in Ukraine and in concert halls of foreign countries.