КАМЕРНО-ВОКАЛЬНІ ТВОРИ УКРАЇНСЬКИХ КОМПОЗИТОРІВ ДРУГОЇ ПОЛОВИНИ XX – ПОЧАТКУ XXI СТОЛІТТЯ

Abstract

In the article is to reveal the characteristics of chamber-vocal works presented in the works of Ukrainian composers of the second half of the ХХth – beginning of the ХХІst centuries and to highlight the specificity of the interaction between the traditional and the innovative. The methodology consists in using the methods of analysis and synthesis, a comparative method for identifying features inherent in the chamber-vocal works of modern composers. Certain aspects related to the innovative beginning inherent in the chamber-vocal works of Ukrainian composers of the second half of the XX–XXI century are emphasized.Each of the authors chooses his own unique way in the interpretation of literary poetic images. You can find many examples of writing romances, songs and cycles not only on the texts of famous poets, but also on their own. Chamber and vocal compositions require artists to have skills that are different from those that arise when singing great works, including operas or separate rooms from it. It is a question of the extremely high requirements put forward by participants in the piano and voice dialogue. The artistic image consists of the interaction of these parties, their harmonious combination.Attention is paid to the formation of the traditions of writing vocal works in Ukrainian composing practice. One of the pressing issues for the vocalist is the choice of repertoire. Execution of chamber works requires a special mood of the singer, which is impossible without a deep understanding of the author’s intention. The chamber-vocal creativity of the Ukrainian composers of the second half of the XX–XXI centuries is characterized by a number of features. In general, from the second half of the XX century there is a growing interest in chamber and vocal genres, and such works arise in various composers who work in different style directions. For most authors, it is characterized by bright software, a wide range of poetic texts that give impetus to writing works. It is quite interesting to choose a mix of performances, which is not limited to a duet of voice and piano, but can be expanded by the addition of other instruments. So, for example, vocal-instrumental work with a more advanced performance is Opera rustica for two soloists and E. Stankovych’s chamber orchestra. In many leading composers, chamber music, vocal-instrumental and purely instrumental has not only the undeniable importance of both independent and completed works, but also those that serve as a place for manifestation of the desire of the composer to certain discoveries that may be involved in other larger-scale works.There is a tendency to appeal to the works of classic poets, the use of folk texts. Fundamentally new is the interest in poetry, associated with the symbols of the East. The authors write not only works for piano and voice, but also strive to create more innovative performing compositions. The topic is often associated with the intimacy of the statement.