“UKRAINIAN POEM” BY YE. STANKOVYCH: FEATURES OF THE AUTHOR’S TREATMENT OF THE GENRE

Abstract

Research objective. The aim of the work is a comprehensive review of Ye. Stankovych's “Ukrainian Poem” from the point of view of identifying the artistic, genre and stylistic specificities of the work. The methodology is based on the unity of system-analytical, comparative and intertextual approaches. The scientific novelty lies in the fact that Ye. Stankovych's “Ukrainian Poem” for the first time receives analytical coverage in domestic musicology in the context of the composer's creativity and through the prism of its leading artistic ideas and genre-stylistic trends. Conclusions. “Ukrainian Poem” is a vivid example of the artist's chamber-instrumental creativity. The composer's attraction for philosophical problems and conceptual filling of images, metaphoricality and figurative symbolism is vividly reflected in it. The connection with the national musical tradition in the poem, defined by the composer as “Ukrainian”, is extremely deep, it does not “lie on the surface”, manifesting itself in the usual folklore elements. It is revealed through a whole complex of genrestylistic features, “scattered” in the musical space of the work, among which: the diatonicity of the main theme, built on third-grade chants of variable natural-scale supports; tendency towards improvisational melodic presentation and metro-rhythmic freedom; predominance of variant-variational type of melodic development, re-intonation in the style of folk melody; the intonation connection of musical thematics with the genres of Ukrainian folk art – Duma and Lament; a combination of thought-rhapsodic melody with “folklorized” rhythmic structures. The musical text of the work concentratedly reflects the features of the composer's style and becomes a kind of quintessence of the national intonation. The genre complex of poetics in “Ukrainian Poem” is manifested in the application of the principle of monothematism with intensive modifications of the main material and techniques of figurative and thematic reincarnation, gravitation to the monologic type of expression, through intonation and thematic development. The author's “chain” one-part compositional model, based on these principles, is enriched with elements of sonata as signs of conflict in the work’s dramaturgy. Evidence of the scale of the ideological plan of the “Ukrainian Poem” is the organic combination of the ensemble principle and the composer's symphonic thinking, as well as the deep connection with the national musical tradition.