Concerto for Saxophone and String Orchestra by L.-E. Larson in the context of Ukrainian-Swedish Historical Connections and Traditions

The purpose of the article is a realization of organic character to the lyrical concept of piano concerto in the French tradition, presented Concerto С.Saint-Saёns, actual intonation expressiveness which is determined "nеоcymbolism" (on E.Markova) to pоstvаnguard in music and "nео-Gоthic in art" in Ukrainian refraction of post-pоstvаnguard (see to work O.Novikova and others.) The methodology of the work is culturology approach in science about art, presented including school of B.Asafiev in Ukraine, begin which are fixed french Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A.Losev, N.Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. Scientific novelty of the work is concluded in that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nео symbolism begin XXI centuries in concrete manifestation of the genre filling in themes and in composition particularities of the structure of the artifact; for the first time Concertos Network-Sansa and, first of all, Second and Fifth became the theme and hermeneutic analysis in aspect actual intonation fullness of the manifestation, in correspondence to symbolism gravities of post-avanguarg. Conclusions. The creative activity of C.Saint-Saёns chronology and by style preferences is connected with proto-symbolism and proto-neoclassicism trends, which assist the ascent a symbolism, but subsequently nеоsymbolism art of verges XIX-XX and XX-XXI cent., differing salon estheticism and animated honouringп of national tradition and French artistic insight first of all. The majority from created Sant-Saёns of symphonic compositions pertains or to the genre of the concerto directly, or are such essential expressiveness and instrumental composition, presenting composition; including this 5 Piano Concerto. Of them, popular Second demonstrates style eclectic significant for the symbolism approach, but brilliant play-off reproduces "diamond style" of classicists french pianism, which osculation find beside S.Rahmaninov and, more so, besides A. Skrjabin. The concert principle of the thinking of Sant-Saёns is determined by address to spiritual headwaters creative activity and forms natural parallel to the ascent of the interest to church art, lifted on height by the creative activity of C.Franck and V. d'Indy.

The purpose of the article is a finding in performance style duality "strict - free" ("classical – non-classical," "classical - a romantic") of the history trace of sacral - рrоfаne, which have proceeded from primary reflective diplastos of deep аrchaic thinking. Methodology. The methodological base of the study emerges the intonation approach of the schools B.Yavorskiy and B. Asafiev in Ukraine, within which is chosen style comparative and culturology interdisciplinary methods, using which is realized natural sense performance style аutonomy in professional music. Scientific novelty is conditioned that that for the first time in musicology is presented the theory of determinism first cultural stimulus of a logic of the terminological everyday life of the performers-professional, for which distinguishing classical – non-classical and their analog forms the base of a style autonomy of performance art to multiplicity style gradation in composer creative activity. Conclusions. Archaic diplastos - a source binary design ideal sphere, which defines a priori distinguishing in reflective operation type opposition of opposite quality, necessary in description separate subject, phenomena and features of the essential factors these last that has a direct output on a duality of counting determinations and on the archetype designs of the religious symbol. Triplicity, selected as something specific operation in reflective operations of European, however, forms and something significant for east conception of the world, being derived by duality. The base for any creative sphere, including music-performance, canonical forms traditional art, folklore and popular, religious including, to which (= "classical-exemplary") author's creative activity always forms "free" (= "romantic-single") variant, - in the aggregate history range of change sort and types to creative activity individual and collective subject folk, nation, other mental generalities, others. Performance dichotomy classical – non- classical forms embodiment of deep, conditioned spiritual оntоlоgy opposition "strictly - not-strict" art, of the performance preferences, conditioned by correlation ritual-pertaining and secular-"imitative" thinkings.

The relevance. The development of piano performance is the result of the interaction of two alternatives — tradition and innovation. Innovations emerge and are affirmed, overcoming the conservative resistance of traditional performance stamps. Each new stage of this evolutionary process is marked by the appearance on the musical horizon of bright names of pianists, who, stunning the audience with their unexpected performance decisions, break established traditions and form new landmarks for performing and perceiving musical works. In the modern space of world piano performance, such a unique musician is the French pianist Luc Debarg. In his extraordinary interpretations, the pianist convincingly demonstrates the new organics of performance and reflects the latest pianistic trends, which deserves special attention and determines the relevance of the study. The purpose of the article consists in realizing the performing conception of Lucas Debargue regarding the N. Medtner’s Sonata f-moll, op. 5 through identification of performing stylistics features of the French pianist. The topicality of the article. The research material was: the musical text of the Sonata f-moll, op. 5 M. Medtner; videorecording of the performance of the Sonata by Luc Debargue and Boris Berezovsky. The methodology. The study used a historical approach, the method of comparative analysis, musicological and performing analysis The result. In musical performance and musicology, N. Medtner’s Sonata f-moll, Op. 5 is grasped as retrospective in the nature of imagery. It is characterized usually by a deep but restrained melancholy, nobility, perfection of form, density and graphic texture, lack of colorism. Lucas Debargue sees the Sonata as a symbol of cultural memory. The texture becomes transparent and differentiated, each of the texture layers seems to be visually filled with color and acquires semantic meaning. Comparing textured layers during performance forms an idea of “traveling” through different time spaces. Strengthening the texture and semantic allusions of M. Medtner’s text, L. Debargue, using well-established, historically characteristic types of articulation, corresponds to the style of J. S. Bach, D. Scarlatti, R. Schumann, F. Chopin, S. Rachmaninoff, A. Scriabin. Through a carefully constructed system of interaction between microagogics, microdynamics, and texture density, the pianist forms a through image — memories that are revived by the memory but do not lose their brightness. So, the leading principle of L. Debargue’s performing style is the modernization of texts of past eras. The pianist offers a post-romantic concept of reading N. Medtner’s Sonata, which actualizes the polylogue of musical and historical eras. The scientific novelty. For the first time in musicology, the features of L. Debargue’s performing style are studied. The practical significance. The results of the work can be applied in the training courses «Piano», «History of piano performance», in further scientific researches.

The purpose of the article is a realization of naturalness to lyrical concept of a piano concerto in French culture end XIX - begin XX century, presented piano Concerto of C.Saint-Saёns, actual intonation which is determined "nеоsymbolism" (on E.Markova) of post-vanguard last decennial event. The methodology of the work is the intonation approach of the school B.Asafiev in Ukraine. The base place occupies the method of the genre-style comparative analysis, hеrmеneutics method, as well as positions performance analysis, as this is presented in works of V.Medushevskiy, E.Markova, as well as in work of S.Skrebkov and others. Scientific novelty of the work is determined that that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nеоsymbolism begin XXI centuries in concreteness of the interpretation of the genre of the concerto in creative activity of C.Saint-Saёns, is for the first time presented naturalness of relationship to аdrаmаtic trend of the thinking Saint-Saёns with pro-religious tone of the culture of the symbolism and his manifestations in nеоsymbolism of contemporaneity. Conclusions. Works of C.Saint-Saёns forms style-semantic parallel to the manifestation of the concert genre besides Russian, Ukrainian composer, for which typology of the concerto also excluded the tragedian-dramatic filling, was directed to ecstatic-glad "ringing of bells" of the play-off, culling from climate of confidence to religious ecstatic quality, confirmed by symbolism. Beside Saint-Saёns independent sense filling get invoiced acceptance, forming strictly thematic factors, leading to concepts of "distracted themes" XX ct. Quality of playing unity art-reality in post-modern, in post-posvanguard is carried out in pathos presenting "life validity" in unity with strictly artistic text. According, in performance repertoire, has got the special confession a music concert-natty, which correlate with joy-cоmpеnsаtion tone recreational - and spiritual art, capacious presented concert type of the music C.Saint-Saёns.

The purpose given work is a comparison of the historical conditions of the arising the madrigal and Ukrainian songs and the stage of their development at New time with an analysis of significant song samples in named foreshortening. The methodological base of the study emerges from the intonation approach, as he formed in the treatment of Androsova D., Liu Bingjan, Markova O., Muravskaja O., Roschenko O., and other prominent scientists of Ukraine. The base of the exploratory approach considers the methods of analytical, historian-descriptive, hеrmеnеutic-interpretation, and cоmpаrаtive-style, which in complex allow defining the sense historically variable forms in dеtеrminаnt of the contents music-poetical opening. The scientific novelty of the work is defined by independence to theoretical idea of the parallels between-song typology of the Ukraine and Italy, as well as that that for the first time in musicology of Ukraine is considered content-richness and structure Ukrainian song in accepted foreshortening of the parallels with Italian madrigal. Conclusions. The comparison of the historical epochs of the arising the madrigal and Ukrainian songs shows the generality of their development on sacramental headwaters and real contact nation that has conditioned the nature of the manifestation madrigal typology sign in Ukrainian sogs, but at New time prepared discovery in classicist Ukrainian song composition corresponding to signs of the genre-typology structure. Keywords: madrigal, song, rоmаns, aria, lyricism, a genre in music, music style.

The purpose of the article is to investigate the peculiarities of the stage embodiment of Weinberg’s opera ‘Portrait’ directed by D. Pountney. The methodology consists of historical-comparative, biographical methods and textual analysis. The scientific novelty of the article is that for the first time in musicology the specifics of the stage embodiment of Weinberg’s opera ‘Portrait’ are studied. Conclusions. In ‘Portrait’ Gogol raises complex ‘questions of philosophy of life and art’ [4]. In general, the portrait in the history of world art is one of the most controversial genres. The portrait depicts the most characteristic individual features of a person: face, facial expressions, gestures, clothes, accessories, etc. The symbolic meaning of the portrait is the reproduction of oneself as a way of overcoming the transience of life. ‘Portrait’ of M. Gogol, according to V. Bal, is an important phenomenon of the n historical and literary process of a certain period [4, p. 13]. The theme of the ‘living’ portrait is related to issues relevant to the time in general, in particular, reflections on the nature of realism, the problem of the hero of the work and the role of the artist in art and life. The moneylender depicted in the portrait is ‘a symbol of material and non-spiritual beginnings’ and seduces the artist with money, provokes him by refusing to grow his skills and, accordingly, his spiritual growth [4, p. 14]. The English theater and opera director D. Pountney, having created two of the three acts of Weinberg’s opera, for the most part of the second act, practically turned into one huge scene of the death of the main character. Pountney’s stage embodiment of Gogol’s ‘Portrait’ brings the original source closer to the historical and social realities of the twentieth century, exposes the eternity of the creator, who, serving power, wastes his talent and, eventually, experiencing the collapse of personality, dies.

Statement of the problem. Solo trombone performance is one of the least explored areas in musicology. Most existing scholarly works focus on the trombone as an ensemble or orchestral instrument. The issues of dialogization within the framework of solo wind performance remain underexplored in Ukrainian musicology. Volodymyr Runchak’s work significantly contributes to the development of contemporary repertoire for solo trombone. In his compositions, the performer becomes a kind of “quasi-ensemble player,” showcasing the multilayered sound through a combination of playing, singing, and percussion effects. This highlights the relevance of the study. Recent research and publications. Certain aspects of unaccompanied trombone performance and directions in the development of solo music-making have been studied by researchers such as Y. Sadivskyi (2014) and V. Hromchenko (2018; 2020). The main scientific positions on dialogization in solo performance are presented in the studies of I. Polska (2000; 2022). Instrumental theater and its manifestations in Ukrainian musicology are explored by A Prykhodko (2013), S. Horokhivska (2011), and O. Berehova (2018). Scientific articles by S. Horokhivska (2012), A. Minenko (2023), and I. Paliichuk (2022) are devoted to the characteristics of V. Runchak’s works for wind instruments. Objectives, methods, and novelty of the research. The article aims to comprehend and systematize the ways of dialogization in the musical texture of works for unaccompanied trombone and to identify methods of their implementation using the example of V. Runchak’s compositions. The scientific novelty of the study is determined by the fact that, for the first time in musicology, music for unaccompanied trombone is considered in the context of ensemble dialogicity. A comprehensive analysis of “Homo Ludens VI: A Pair of Anecdotes on a Well-Known Theme for Trombone” by V. Runchak has been conducted for the first time, revealing and systematizing the methods of dialogue realization within monophonic musical texture. The following methodological approaches were employed: source studies, textual analysis, intonational-structural analysis, semantic analysis, and performance analysis. Research results. V. Runchak naturally integrates elements of instrumental theater into the artistic concepts of his works. “Homo Ludens VI: A Pair of Anecdotes on a Well-Known Theme for Trombone”(2005) is a multifaceted portrait of a trombonist-soloist, who grotesquely describes episodes and details of his creative life. The composition is based on the interplay of various types of musical material presentation – instrumental, verbal, and noise, where gradual emotional and physical tension of the performer is observed. The composer employs a wide range of techniques and expressive means (glissando, frullato, multiphonics, indeterminate pitches, repetitive techniques, etc.). Solo trombone episodes alternate with elements of theatrical performance (stomping, shouting without the instrument, demonstratively draining condensation, tongue clicks). Dialogization in solo performance is understood as a set of methods and techniques that, within monophonic texture, create interaction between imagined musical parts.The methods of dialogization in V. Runchak’s“Homo Ludens VI” can be systematized as follows: musical-expressive aesthetics (rhythm, timbre, register, dynamics), the technical possibilities of the trombone, semantic connotations of sound perception, and the compositional structure of the piece. Musical-expressive interaction is achieved through rhythm, timbre, register, and dynamics. Performance-technical interaction is ensured by articulation techniques (staccato, legato, sforzando) and playing techniques (glissando, frullato, multiphonics). Semantic interaction is realized through associative and spatial factors. Compositional interaction is achieved through the transformation and repetition of a single rhythmic motif throughout the piece. Conclusion. “Homo Ludens VI: A Pair of Anecdotes on a Well-Known Theme for Trombone” is a composition that demonstrates almost the entire arsenal of trombone performance techniques, requiring exceptional technical skill and interpretative freedom from the musician. Dialogization serves as an essential tool for expanding the expressive possibilities of the solo instrument. It is realized through various musical-expressive means and techniques, creating a multi-layered sound communication.

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.

«Othello» G. Verdi – A. Boito as a game of chess

The relevance of the study lies in the fact that the national and cultural life of the Tatar diaspora in the Northwest China has not been the subject of the research. The research interest is also caused by the fact that the history of the formation and development of the Tatar diaspora, every day, spiritual, educational and cultural life has not been studied at all and is of particular interest to researchers. The scientific novelty of the work lies in the fact that the article examines the process of formation of Tatar theaters and string orchestras in the cities of Kuldzha and Chuguchak for the first time, where the bulk of Tatar emigrants lived. Particular attention was paid to the role of Tatar theaters in the life of indigenous and visiting peoples of the XUAR of the PRC. The purpose of the work is to study and systematize the national and cultural life of the Tatars of Xinjiang. As a result of the study, it can be concluded that the creation of theaters and string orchestras has contributed to the rallying of the Tatars, as well as the preservation of the native language, literature, traditions, culture and identity of the people, which is also a very important factor in preserving identity among the local population of Xinjiang.

Research objective is the analysis of the bagatelle style of the V. Silvestrov in the panorama of the basic trends of development of the bagatelle in Ukrainian music in the aspect of individual-compositional interpretation of the genre. The methodology of the research is based on the unity of various relevant methods: the approaches of historical musicology, comparative and system methods, elements of genre and style analysis. The scientific novelty – The article for the first time presents a panorama of the bagatelle genre in the works of Ukrainian composers from the first third of the nineteenth century to the present days. Conclusions. In Ukrainian music we observe a wide range of creative reading of the bagatelle genre in accordance with the author’s style – from the traditional “easy” (or even didactic) miniature to the whole universe, embodied in a small form, in the legacy of V. Silvestrov. Bagatelles of the Ukrainian composers are presented in various modifications – as individual plays, cycles or their parts (including as one of the numbers of the ballet). Side by side with piano bagatelle, there are also exist works for chamber ensemble and string orchestra, as well as bagatelle performances. However, most of the examples of the bagatelle of Ukrainian authors remain within the traditional interpretation of the genre as a small, easy to perform play, most composers turn to the genre of bagatelle rather sporadically, without building a special concept around it. For Silvestrov, the bagatelle becomes a kind of lens through which the artist looks at the world, and bagatelle principle (“bagatellity”) becames an expression of a certain way of thinking, the basis of style, the features of which are embodied not only in the bagatelle themselves, but also extrapolated to other genres. Sylvester bagatelle is a bagatelle in the highest sense, which is far from “trifles”, goes beyond the usual understanding of the genre, becomes, according to the author himself, the “grain of music”, the embodiment of Platonic ideas, acquires the features of a meta genre. The samples of the bagatelle genre in Ukrainian music considered in this publication need a more systematic analysis in the future, one of the tasks of which may be to outline the typology of Ukrainian bagatelle.

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Research aims. To analyze artistic techniques (metaphors, hyperbole, associations, etc.), used to reveal opposite themes – heroes and enemies. To establish the connection between these tasks and the tasks formulated in the curricula of the discipline "Design Projecting". Research methods. Сomparative and art analysis. Scientific novelty. Introduction into scientific sphere some previously unexplored visual data, invented by creative individuals in a critical situation, namely – the samples of poster activities by students and teachers of Kyiv National University of Culture and Arts and Kyiv University of Culture during the period of active military operations. The research was made on the base of the corpus of works, made in the group Creative resistance of Kyiv National University of Culture and Arts and Kyiv University of Culture. Conclusions. Modern times have defined new heroes and antiheroes, as well as certain rules of their visual interpretation. Heroic images are presented through the sacralization, monumentality of the image, revealing the features of their national identity and relationship with the "pillars of the nation", national ideals. Emphasis is placed on rootedness in historical tradition, such as the troops of Kievan Rus or the Ukrainian Cossacks, the rebel movement, and so on. Interpretation of antiheroes ranges from demonization or dehumanization to caricature, equating to certain animals, shown as comic characters. Personification of enemy forces in the image of the President of the Russian Federation continues to extend hierarchically to the occupying army, court propagandists, and later to all of Russia as a state and the Russian population itself, as the majority supported the so-called "special operation." The stylistics of poster works, borrowing some elements from the pair "anti-hero vs hero" in the Soviet poster, finds and uses modern techniques and means of graphic solutions, involving an arsenal of the latest technical means that allow the use of modern computer technology.

Statement of the problem. The article is the first experience in Ukrainian musicology to cover a significant artistic event in the cultural life of modern pre-war Kharkiv – the author’s concert of the composer Serhii Turnieiev, Honored Artist of Ukraine, Professor and until recently the Dean of the Kharkiv I. P. Kotlyarevsky National University of Arts. The event took place with the participation of famous solo musicians, as well as one of the best creative groups in Ukraine – the Symphony Orchestra of the Kharkiv Regional Philharmonic led by People’s Artist of Ukraine Yurii Yanko. The concert symbolically opened the chain of festive actions for the 105th anniversary of the University’s founding, although the “counterpoint” to this festive line was severe life events: the pandemic, and soon the war. This “contrasting polyphony”, and most importantly, S. Tournieiev’s inherent polyphonic thinking made possible a conceptual metaphor – likening the composition of an author’s concert to the structural logic of a fugue. This metaphor that became the key to revealing new meaningful facets of the works performed in the concert, is designed to deepen the analysis of the artistic meanings of the celebrate event and its reception by the listener. So, the purpose of the study is an attempt to get closer to understanding the inner processes in an experienced Ukrainian composers creative “workshop”. The methodological basis of the study consists of several directions: consideration of biography, vectors of action and existing musical pieces by S. Turnieiev; definition of role and place of some opuses in composer’s portfolio; systematization of the present scientific works; involvement of facts still not well known and our interviews with participants of recent artistic events; observation made upon such musicological spheres, as musical thinking, perception, composer’s artistic process on the example of complex analysis of content and performance vectors of S. Turnieiev’s musical pieces. Recent research and publications have shown the priority of some relevant issues: personalities and artistic life of modern composers (Ukrainian in the case); consideration of artist person “formula”, his musical thinking / style / method; belonging to traditions of particular school; studying of the process of art and its “consequences – composer’s and performer’s realization / interpretation of an artistic idea in musical piece. These trends actively integrating to spheres of the modern humanitarianism: philosophy, psychology, sociology of art, history, cultural studies, ethics, aesthetics and others. Among the authors whose works contributed to reveal our topic are М. Bevz (2017), Ye. Belova (2020), V. Bohatyrov (2021), І. Drach (2002), R. Kashyrtsev (2021), I. Horbunova (2015), I Konovalova (2018), D. Malyi (2017, 2018, 2021), Yu. Nikolaievska (2020), О. Roshchenko (2007, 2017), P. Rud (2021), H. Savchenko (2017, 2018, 2021), L. Shapovalova (2008), L. Maltseva, 2005, О. Shchetynsky (2017, 2019), and others. Some of publications by S. Turnieiev (2005, 2010, 2014) were studied. Results and conclusion. The role of the fateful creative meetings in the professional activity of the composer was revealed, that prompted him to create his own opuses. The meaningful components of the compositional portfolio / style / method of S. Turnieiev were clarified by the way of considering the history of writing, musical and expressive principles and the performing fate of the works that were performed in his author’s concert: the Symphonic Frescoes “Taras Bulba”, “Lamentoso” for viola and string orchestra, “Five Flemish Dances” for clarinet and string orchestra, symphonic picture “Tunes” (“Nahravannia”). It was concluded that S. Turnieiev’s author’s concert became a large-scale presentation of his many years of professional experience, as well as the traditions of the Kharkiv theoretical-composing school, which was historically formed namely in such integrated format – therefore the organic unity of musical theory and practice is felt in S. Turnieiev’s work at the level of worldview constants. It was the “school” of professional training that allowed him to build a solid foundation for further independent creative search, gave him a sense of confidence and inner freedom, and became for the composer not a “template” with a limited range of norms and rules, but a “space” for wide creative possibilities.