First micro cycle — basis of the polyphonic cycle of V. Ivanov
The article deals with the piano polyphonic cycle of a Kharkov composer — V. Ivanov (1936 – 2003), who created an original work, where polyphonic traditions and accurate timeliness are in a perfect harmony. They are shown up in peculiarities of cycle and micro cycle genres construction, in music language of plays, in maintenance and breach of structure basis of fugues, their intonation sphere, new basis of correspondence of preludes and fugues. Ivanov referred several times to a polyphonic style of writing in different genres. He also wrote a polyphonic cycle — 48 preludes and fugues for piano: first volume — in 1976, second — in 1979, third — in 1990, and later on he created the fourth volume. They consist of different combinations of the fugal plays, including preludes and fugues. This is a unique work from all points of view: music language, theme, structure, construction of micro cycles, correlation of preludes and fugues. We have already referred to the works of V. Ivanov and then we talked of drama nodes of his polyphonic cycle. The article suggested theory of polyphonic cycles’ analysis, introducing the concept «polyphonic nodes» and disclosing some of its components on the example of the work (not known to the performers) of the composer V. Ivanov. «Ukrainian polyphony» was considered as a national performing repertoire. The first volume is the basis of the whole multi-level work, whereas the first micro cycle appears to be a primary basis of all the subsequent ones. Therefore, to make peculiarities of the contents and structure of the first micro cycle clear — is the major task of our article. Prelude of the first micro cycle of V. Ivanov (Allegretto, 20 bars, in C) is important for comprehension of the whole cycle, because it holds a through leading drama stress; contains main intonations, intonation complex, modal, texture cycle setting. There are several content and texture plans in Prelude. In the basis of their musical language there is a series and range of its variants — transformations and modifications: cluster, melodic, harmonic, with different textures and rhythmic group combinations. Prelude is written in typical for serial thinking form — variation, built on a series variance. Let us dwell on a content and structure canvas of different plans of Prelude. In the first and major plan (upper voice of the four beats) four-voice clusters are emerging. They go through the whole cycle, with its important intonation code: double tritone with chromatic filling. Three moves of clusters with a second tone step create twelve-sounded system-series. We will call this image (t. 1-4) — CLUSTER SERIES (CS). Basis of the clusters is a clear move by I — II — III degrees C-dur, and tops account for sounds: g, a, h, that is, if we gather them consecutively, then the consecutive scale degrees will be created: from c – to h. In general, the content of the clusters is the following: c – des – fis – g; d – es – gis – a; e – f – ais – h. The second plan – is like melodic and rhythmic explanation of the above described CS. Taking into consideration basis of clusters (ñ – d – å), the composer fills other sounds of its components: seconds and tritones, with melody. Three elements of a sequence offer different rhythmic decision of the motive, direction of which varies from stability to syncopatedness. We will call this layer of Prelude — LEIT THEME (LT) — it also goes through the whole cycle of V. Ivanov. The third plan of Prelude is also very important. This is the first variation — another one from the important variants of presentation of twelve tones: subsequent chains of rising and falling tritones. For the further convenience we will call it LEIT COMPLEX (LC). Prelude and Fugue 1 create feeling of unity and wholeness, because LC lies in the basis of both prelude, and fugue, of all its sections; whereas a 12-tone series (CS) — is a through one in the structure of the micro cycle content. As prelude is interpreted by variations on series, so fugue can be regarded as a series of variations. Internal filling of series in fugue repeats, continues and extends prelude variants: 7 variants of interpretation of modal series which have been studied by us, are far from exceeding their variance. The micro cycle has one more peculiarity: tendency of the composer to adhere to squareness both in prelude, and in fugue — 4-bars theme structure, which as a result sometimes violates balance of the parts of the micro cycle. In addition — there is a constant wish to disconnect squareness by non-harmonic tones, chords-passages, which violate laws of polyphonic horizontals (in Fugue). Unity of Prelude and Fugue 1 is favored by dynamic meanness, connecting sections and phases, and performing form-creating role of common time — 4/4 and tempo–Allegretto. We should also point out constant tritone correlation in everything — inside the series, tonality between themes’ realization, relations between micro cycles. (We should point out that tritone relations of tonalities in fugue are peculiar to some composers of the second half of the XX century: for example, Fugue from the First partita of M. Skorik). In the work of V. Ivanov — tritone — is an intonation basis of thinking.