THE ENSEMBLE TEXTURE OF VIKTOR KOSENKO’S CLASSICAL TRIО

Abstract

The purpose of the article is to investigate and define the principles of ensemble texture organization in V. Kosenko’s Classical Trio as markers of the composer’s individual style. The study employs historical, genre-stylistic, and systemic-functional research methods. Scientific novelty lies in the actualization of the problem of textural organization principles on the material of Kosenko’s Classical Trio as individual style markers, which perform a moderating function in the composer’s dialogue with the traditions of the Classical-Romantic period of music development. Conclusions. The analysis of the ensemble texture in V. Kosenko’s Classical Trio reveals principles of textural organization that demonstrate the composer’s orientation toward Classical-Romantic traditions. The work is dominated by a homophonic-harmonic type of texture, within which the technique of doubling plays a crucial role and is applied in various forms. Its use leads to the following consequences: uniting the violin and cello into a timbral-textural pair, stratifying the ensemble texture into two timbral-textural layers (strings vs. piano), the possibility of modeling ensemble texture in the projection of “twoagainst- many” and “solo-accompaniment” (after I. Polska), clarity and transparency of texture, and emphasis on vertical structures. The composer’s inventive work with this technique does not exclude the stratification of lines through the transfer of thematic elements by means of alternating entries of voices, imitation of melodic fragments, and layering of melodic lines with similar thematic material. These devices are used episodically in the first, second, and fourth movements and are fully realized in the third movement, which, as the tragic center of the cycle, provides a vivid contrast to the others.