PROGRAMMING MODES IN UKRAINIAN CIMBALOM MUSIC

Abstract

The original repertoire of cimbalom mysticism through the prism of the ancient theory of program music, which is represented in the works of contemporary musicologists, is characterized in the article.The purpose of this article is to reveal the specifics and reveal the range of manifestations of programming modes in the works of Ukrainian composers with the participation of cimbalom.It has been established that today’s Ukrainian original cimbalom program music in total quantity is equal to 70 compositions.Characteristic for it (as well as for the academic tradition of performance on folk instruments in general) is the dominance of the paraphrastic mode (26 works). A series of concert performances of Ukrainian folk songs by G. Agratini, I. Misky, Y. Zulyak, P. Yusipchuk, O. Savitskaya, as well as Fantasies, Variations and Paraphrases based on folklore themes by D. Popichuk, V. Popadiuk, Y. Lapinsky, L. Donik. The second most numerous (19 works) is the figuratively-mood mode, revealed in the cimbalom works of A. Haydenko, S. Mostovy, V. Bohatyryov, O. Rybak, A. Strilts, and Y. Shevchenko. Also, an important place in Ukrainian cimbalom music is occupied by the psychological-mood mode (9 works), embodied in the compositions of B. Kotyuk, V. Dmytrenko, L. Kotokhin, and D. Panchenko.Small groups (in which from 1 to 3 works are presented) form compositions by D. Zador, Yu. Alzhnev, M. Stetsyun, A. Shusty, which have features of sound-following, figurative-symbolic, dramatic-plot, memorial modes and dedication mode. Also program music for cimbalom has compositions in which there is a crossing or layering of modes, associated with the multifaceted nature of artistic- figurative concepts (for example: Concert Fantasy “Carpathians” in memory of Desideri Zador for cimbalom by R. Medentsi, piano and symphony orchestra; V. Telichko’s Concert Fantasy “Ash Rock” for cimbalom and symphony orchestra). The presence of pictorial, portrait and sacred modes in cimbalom works by Ukrainian authors has not been identified. This fact is explained by the fact that in the artistic space of Ukraine the process of developing an original cimbalom repertoire covers only the last six decades.