"STYLE GAME" AS A CTOR OF DRAMATURGICAL AND MEANINGFUL ORGANIZATION OF PIANO WORKS BY MYROSLAV SKORYK (ON THE EXAMPLE OF THE CYCLE "SIX PRELUDES AND FUGS")

Abstract

The main principles of the structural organization of the cycle of Myroslav Skoryk "Six Preludes and Fugues" are considered. The relevance of the specified topic is due to the noticeable increase in the interest of scientists, pianists-performers and teachers in the evolution of polyphonic genres in Ukrainian composers' creativity of the last third of the 20th – early 21st centuries. The methodological basis of the study is a comprehensive musicological approach that combines structural, intonation-thematic, genrestylistic, and analytical methods. The features of the formation are determined, the specifics of the composer's polyphonic thinking within the framework of this work are revealed. The principles and means of implementing the "stylistic game" as one of the leading features of Myroslav Skoryk's creative method are investigated. It is emphasized that the general compositional and dramaturgical structure of the cycle “Six Preludes and Fugues” has a clear architectonics and, at the same time, is subject to improvisation, a relaxed “style game”, which is clearly manifested at the level of individual parts, their figurative content, structural organization. It is emphasized that each pair “prelude – fugue” forms a separate micro cycle based on the contrast of textural and genre-intonation models. At the level of thematic connections, the principles of intonational unity of the cycle are implemented, and an exquisite, skillful combination of different-style elements, textural and register organization, etc. is achieved. At the same time, it is emphasized that M. Skoryk, with his inherent dramaturgical skill, unites all parts of the cycle into a single macrocyclic structure, which ensures the logic of the development and harmony of the cycle. The determining role of the polyphonic component of the work is revealed. It is found that in “Six Preludes and Fugues” the features of the reincarnation of the Baroque tradition, classical fugue, and suite are combined, which are subject to active dynamization. This is achieved through the use of the principle of variation at the thematic, metro-rhythmic, texture-register levels. In the musical space of the cycle, a combination of stylistic models of neo-baroque, neo-romanticism with jazz-improvisational stylistics, elements of modern compositional technique, typical for M. Skoryk's individual method, is revealed. It is proved that the cycle "Six Preludes and Fugues" by Myroslav Skoryk is a significant achievement of Ukrainian piano music of the 20th-21st centuries, representing an original model of the modern interpretation of the polyphonic cycle. The work demonstrates the essential features of the composer's searches in the context of understanding the diversity of world polystylistic trends, models of "stylistic play". The results obtained can be used in courses on contemporary Ukrainian music, the history of piano styles, as well as in the concert activities of pianists-performers and pedagogical practice.