Принципи циклізації mélodie Ф. Пуленка на вірші Г. Аполлінера
Principles of the cyclization of mélodie by F. Poulenc on poems by G. Apollinaire

Summary/Abstract: Purpose of the article. The complexity of the embodiment of G. Apollinaire's poetry in vocal lyric and the organization of its separate units in a cyclic composition determine the research objectives, namely the disclosure of the logic of creating musical forms in F. Poulenc's cycles, taking into account the figurative content of the poetic text. Methodology. Understanding the composer's ingenuity and the tremendous power of his aspirations to detail the specific properties of the poetic expression led to the need for applying structural-theoretical and comparative research methods. Search for the principles of cyclization required the involvement of a historical-evolutionary approach to identify the interaction of tradition and innovation in the processes of creating forms in music. The scientific novelty lies in the expansion of ideas about F. Poulenc's organization of the vocal-poetic cyclic composition. In this context, the article investigates the methods of creating musical forms characteristic to the composer; identifies the genre signs, caused by the juxtaposition of contrasting poetic pictures and images; characterizes the complex means of musical expressiveness, chosen by the composer to approve genre messages, the interaction of which generates a close connection with suite. Conclusion. The approach chosen by F. Poulenc to the cyclization of vocal miniatures allowed him to create a new genre subsection – cycle-suite. At the same time, he found a connection both with the French national tradition in general, which is characterized by brightness, theatricality, the panoramic expression, and the work of the composer-spredecessors Gabriel Fauré and Claude Debussy in the works of which there are noticeable innovative tendencies in the construction of the whole peculiar to F. Poulenc – from unification of the plot to contrasting polar characters, pictures that convey a mood. In its turn, F. Poulenc, having referred to the poems of G. Apollinaire – the reformer of French poetry – faced the problem of finding both individual means of expression and new methods of organizing the whole.

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