Соната-фантазія пам’яті А. П’яццоли для скрипки та фортепіано О. Яковчука: жанрові та стильові особливості
Sonata-fantasy dedicated to the memory of A. Piazzolla for violin and piano by О. Jacobchuk: genre and style features

Summary/Abstract: The new work of contemporary Ukrainian composer A. Jacobchuk – Sonata-fantasy dedicated to the memory of A. Piazzolla for violin and piano – has been analyzed in the article for the first time. There is defined organic synthesis of sonata and fantasy genre, and performing potential of artistic content is investigated too. Importance of poly-stylistics phenomenon in personal style of composer is emphasized on the example of stylization used in the work. For Ukrainian chamber and ensemble music of the late XX – early XXI century and yet characteristic distinguishing feature is a big genre variety. Signs and norms of classical sonata form vary considerably. Entered typicality phenomenon synthesis of two genres in one song – for example, a combination of sonatas and fantasies. Such a mixed genre, except O. Yakovchuk, appealed L. Duma ("Sonata-Fantasy" for flute and piano, 1990), A. Kozarenko ("Sonata quasi una fantasia" for violin and piano, 1996), Vladimir Martynyuk ("Sonata-Fantasy" for violin and piano, 1999). In Ukraine, the fantasy genre was popular in the late nineteenth – early twentieth centuries. There was only one type of genre, based on two contrasting folk elements – lyrical and dance (or marching) – on this basis, many compositions created with the introduction of additional sections. The revolutionary changes in society first half of the twentieth century fantasy genre pushed into the background: at this time was created a small number of tracks (Fantasia J. Steppe, 1910).

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