CONCERTO FOR VIOLIN AND PIANO BY V. KOSENKO IN THE CONTEXT OF STUDYING THE ARTIST'S MANUSCRIPT HERITAGE

Abstract

The Concerto for Violin and Piano by V. Kosenko is considered in the aspect of genre and intonation connections with chamber-instrumental works of the Zhytomyr period with the use of manuscript sources. His chamber-instrumental aesthetics is defined. The type of individual and stylistic thinking of the artist is characterized as existential and border-centered. In the context of V. Kosenko's reinterpretation of the sonata-symphonic cycle, the stylistic features of the poem-type drama with structural invariants of the sonata and suite are revealed. The dramatic idea is characterized as an internal lyrical and dramatic dialog. The genre, intonation and semantic connections of the Concerto with the Neo-Baroque Sonata for Violin and Piano, as well as with the plays “Dreams” and “Impromptu”, which were inscribed in the structure of the sonata allegro as episodes and determined the peculiarities of the dramatic concept of the Concerto, are clarified. The conclusion that the Concerto organically embodies the genre markers of the chamber instrumental sonata is emphasized. The structural and stylistic invariant of the Concerto is defined as a romantic-baroque one. The conclusion about the direction of rethinking sonatality as an idea and concept with the constitutive value of a fragment and the dominance of chamber thinking in concert forms, which is essential for V. Kosenko, is substantiated. Based on the study, the author states the continuity and integrity of the process of genre and intonation transformations of V. Kosenko's compositional thinking as a living intonation system capable of updating and expanding its boundaries. Two orchestral versions of the Concerto score are characterized, corresponding to the chamber and symphonized models. The genre attribution of the plays “Dreams” and “Impromptu” is clarified. The prospects for renewing the performance tradition are outlined. Promising directions for studying and systematizing biographical materials, the artist's epistolary, finding and identifying orchestral versions, creating a consolidated catalog of phonographic stock materials, studying performance concepts, etc. are predicted.