D.KLEBANOV’S CONCERTO FOR DOMRA AND SYMPHONIC ORCHESTRA IN THE CONTEXT OF GENRE DEVELOPMENT

Abstract

Statement of the problem. D. Klebanov played an important role in the development of domra concerto genre in the middle of the 20th century. Ocheretovska N. (2015), Savchenko H. (2021), Kosenko H. (2018), Shapovalova O. (2011) have studied D. Klebanov’s composer style, in particular, his orchestral thinking. However, the creative principles that guided him when writing Domra Concerto, as well as genre and style features of this composition went unexplored. This determines the relevance and scientific novelty of this study aiming to reveal the features of Klebanov’s composer thinking, which are reflected in his Domra Concerto and influenced the further development of the concerto genre in domra music. When analyzing the Concerto, genre-style, organological, performance and comparative research methods were used. The results and conclusions. By the time Klebanov’s Concerto appeared (1951), the domra repertoire included only various works of small forms. The emergence of the concerto genre launched a number of domra concertos, where single-movement concertos predominated, while the three-movement cycle was represented by only a few works by D. Klebanov, V. Ivko, B. Mikhieiev. Klebanov’s Concerto consists of three movements (fast – slow – fast), which are written in forms typical for the classical sonata-symphonic cycle (sonata in the first, refrain’s variations in the second and rondo-sonata with variations in the third movement). The tonal thinking inherent in Klebanov’s orchestral compositions is fully preserved. The theme of sonata exposition is contrasting; sub-themes have a songlike character clearly manifested in the second part. The cadence of the first movement embodies domra characteristic features, namely the cantilena and virtuosity; domra is presented as a multi-timbre instrument with wide coloristic possibilities. Klebanov uses a folklore quotation in the Concerto Finale (Ukrainian folk song “The reapers went to the field”) and stylizes Ukrainian folklore in other parts. This combination of quotation and stylization was later used in other orchestral and chamber compositions. Thus, Concerto by D.Klebanov is the first example of a cyclic concerto form in Ukrainian domra music, which gave birth to a number of works in this genre, especially by Kharkiv composers (V. Podhornyi, I. Ivanov, B. Mikhieiev, A. Haidenko), where the genre palette extends from the three-movement concerto, respectively, to the concertino, poem-concert, concerto-toccata, concerto-epos and concerto-suite. Despite the fact that Klebanov’s Concerto belongs to an academic model, Ukrainian melody penetrates into every part of the form, turning this composition into a vivid example of the national domra concerto.