VOCAL CHAMBER MUSIC OF VIKTOR KOSENKO: INTERPRETATIONAL ASPECTS

Abstract

The relevance of the research lies in the need to revise the style dominants of V. Kosenko's music and consider his work in the paradigm of modernist art, since understanding the specifics of a musical style as a reflection of the aesthetic attitudes of an era has a direct impact on interpretative approaches to the music of a particular historical period. The purpose of the research is to characterize the performance interpretations of V. Kosenko's vocal chamber works by Ukrainian vocalists from the standpoint of their compliance with the aesthetic foundations of musical modernism. The research methodology involves the use of historical cultural and comparative methods, as well as the method of style analysis, which allowed us to identify two approaches to interpreting V. Kosenko's music, corresponding to the aesthetics of romanticism and modernism. Scientific novelty. In the study, using the example of V. Kosenko's romances "Speak, speak!" and "Sad Me", two interpretative models of the composer's vocal chamber music, which have developed in Ukrainian performing practice, are characterized. Conclusions. The vocal chamber works of V. Kosenko have long been interpreted by Ukrainian musicologists in the context of romantic music, which has left its mark on its performance interpretation. Despite the exemplary performance of B. Rudenko's romances "Speak, speak!" and "Sad me", which convey the composer's modernist worldview, namely sophisticated lyricism, mobility in conveying emotional states, in the Ukrainian concert and educational practice of the 21st century, the romantic interpretation of these works has become a priority. It assumes the advantage of cantilena over declamatory, a narrowing of the emotional palette, a slower tempo and a rejection of an ecstatic climax. The interpretation of V. Kosenko's works as modernist is more an exception than a rule, however, elements of modernist aesthetics, such as the strengthening of the declamatory component, theatricalization, and the transmission of subtle gradations of emotional states. Overcoming the inertia of performance will certainly become an impetus for rethinking not only the creative legacy of V. Kosenko as a modernist composer, but will also give impetus to updating approaches to the interpretation of modernist music in postmodern times.