Abstract
The purpose of the study is to reveal the peculiarities of the embodiment of the kondak at the Assumption «In prayers of the Mother of God» in the choir concert by H. Davydovskyi, to consider the means of musical expression that the composer uses in working with canonical structures. The methodology of the research is the interaction of research approaches, namely: a systematic approach in the study of musical and artistic phenomena, historical, comparative, genre-style analysis. The scientific novelty of the work consists in identifying the features of the interpretation of canonical texts (Kondak on the Dormition «In Prayers of the Mother of God») in the work of H. Davydovskyi. Conclusions. The theme of the Assumption of the Virgin is perceived by the composer as the supreme unknown and mysterious power, which entails mental suffering and loneliness. This perception of the subject influenced the phenomenon of the interpretation of the text of Kondak on the Assumption, which is determined by the exaggeration of the emotional plan of the work over the canonical structure of its structure. Features of the perception of the figurative content of kondak are found in the use of the very text of kondak — repetitions of stanzas, selections of certain words and phrases. Musical incarnation of the kondak at the Assumption of David allows us to talk about him as a romantic composer. Concert of the author is inherent: the depth of feelings and emotional sublime, the organic unity of content and form, romance melodiousness, colorful harmony, variability of the system.
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