SPECIFIC INTERPRETATION OF THE CHOIR CONCERT GENRE IN CONTEMPORARY UKRAINIAN MUSIC (ON THE EXAMPLE OF THE CONCERT “MY MOUNTAINS” BY V. ZUBYTSKY)

Abstract

The article examines the phenomenon of modern Ukrainian composers turning to the choral concert genre, known since the middle of the 17th century. The continuity of the tradition of the existence of the choral concert genre, which originated in Ukrainian music more than 300 years ago, in the work of Mykola Dyletskyi and his contemporaries, was followed through periods of prosperity during the period of musical classicism (the creative legacy of Maksym Berezovsky, Dmytro Bortnyansky, Artemiy Vedel) and decline in the 19th–20th centuries, and remains relevant until now due to the revival of interest in this genre in the work of modern composers. The classification of the genre of the choral concert in modern music is presented, where, along with the spiritual concert, secular and folk varieties, which were not present in the ancient examples of the genre, are becoming widespread. The choral concert “My Mountains” by the famous Ukrainian composer Volodymyr Zubytsky, the author of a large number of works for the a cappella choir, was chosen as the material of the analysis. It has been proven that this concert belongs to the folklore variety of the genre, which is indicated by the verbal texts representing Western Ukrainian folklore and the musical language of the piece. The means of musical expressiveness are analyzed – melody and its authentic folklore sources, rhythm, harmony, polyphony, texture, etc. The great semantic role of means of alliteration and instrumental sound writing, which have a folklore nature, is noted. The continuity of the tradition from the choral concerts of the era of classicism at the level of the general structure of the concert cycle, the embodiment of the principles of concert performance, which determine the regularities of the textured composition and the type of interaction of voices, is traced. It is concluded that the concert “My Mountains” is a vivid example of the modern interpretation of the revived genre of the choral concert, in which the connection with the genre’s origins is indirect, and the characteristics of the concert performance characteristic of this genre are embodied in modern means of musical language.