Фортепіанний цикл І. Шамо "Казка про Хлопчиша-Кібальчиша" в контексті розвитку української музики в умовах соцреалістичної культури
The piano cycle "The Tale of Malchish-Kibalchish" by I. Shamo in the context of development of Ukrainian music in a socialist realist culture

Summary/Abstract: The article examines the features of Soviet socialist realism method and its influence on musical art of the XX century. As the example of "official culture" the Ukrainian piano cycle I. Shamo "The Tale of Malchish-Kibalchish" is analyzed. The evolution of the Ukrainian piano miniatures in the second half of the XX century differs from the others by the paradoxical phenomena. Particular, it was presented in two parallel and antagonistic to each other contexts such as the official culture of socialist realism and the avant-garde underground art. The official Soviet culture differs by its simplicity of perception, relying on official topics, related to propaganda of communist ideas and very simple scientific and musicologist descriptive comments. It was an ideological counterweight to the avant-garde art, with its complexity, incomprehensibility and suspicion. Therefore it is possible to explain such chases (or moral pressure), its victims have been the composers of the sixties years, for example L. Grabowski, W. Hodzyatskyy and V. Silvestrov. At the same time, the most part of composers could combine in their works an avant-garde experiments and socialist-realist "order". The consequence of such skills can be considered as the emergence of a number of cycles of piano miniatures that have a specific destination such as children. In the 70-80s we can see the light cycles by J. Kolodub ("The Ice Queen"), I. Shamo ("Tale about Malchish-Kibalchysh"), V. Ptushkin ("Tale of gold fish"). These cycles have a genre and style features of romantic and neoclassical opuses, mixed with the few modern features. In this article we have been exploring genre and stylistic features of the work of Ihor Shamo, those features the official socialist-realist culture implemented at children's cycle. "The Tale about Malchish-Kibalchysh" was written in the 20-s of the last century by Arkady Gaidar-Golikov, a Soviet writer. This story can be considered one of the most famous Soviet myths about the civil war, which was between 1918 and 1922 years. The story is about a peasant boy who did not give up and did not want to work for the Whites for a tub of honey and a box of biscuits and died under torture. It often was used by Soviet propaganda, for the purpose of ideologically correct parenting. The features of I. Shamo`s cycle are similar to comparable works, which have already been mentioned. So, dramatic progress is subordinate musical fabric specifically expressed verbal plot plan and its visualization. In practice it was available detailed verbal comments based on quotations from the book by A. Gaidar and figures. Accordingly, there is enough music performs a secondary function of the expanded audio commentary to the events are described. The results were the cycle of simplicity and clarity of classical forms and harmony. We can talk about the implementation of neoclassical music trends of the first third of the twentieth century, in the first place it was thumbnail Sergei Prokofiev. In the cycle, Ihor Shamo based on the concept diatonic enhanced with clear contours majeure or minor. The musical form consists of all ten pieces typical of the neoclassical piano miniatures. Mostly, it is one-or three-part. At the same time, a third form of play called "Alarm" is two-part. The play embodied two images of war highlighting remote bombings and rhythm of racing horses. By tradition, the plot was a literary source Arkady Gaidar. All musical development is subject to the implementation of this literary scene. Composer solves this problem using classical canons of dramatic intonation exposure areas combatants, their opposition to each other and result. The cycle has a very large number of cross-cutting elements. It is unlikely that they can be regarded as complete themes. But they are the personification music warring camps. For example, Whites shown elements by Scherzo; and communists Red Guard – invitingly fanfare, themes which based on intonations of folk songs and heroic march. These dramatic features led to the formation and progression of these stages of the conflict: exposition, the introduction of the atmosphere (No. 1 and 2) development of the conflict (No. 3 – No. 6), the tragic culmination (No. 7), the heroic culmination (№8), the dramatic culmination (No. 9), epilogue ( No. 10). Due to the work of the neoclassical genre and stylistic models Ihor Shamo creates a typical example of socialist-realist music. However, this fact does not obstruct to talk about the good methodological value of this cycle.

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