MODERNISTIC SOUND RECORDING IN BORYS LIATOSHYNSKYIʼS FIVE CHOIRS BY MAKSYM RYLSKYIʼS POEMS: STYLISTICS OF CHORAL THINKING

Abstract

The creative heritage by Borys Liatoshynskyi as one of the musical modernism founders in Ukrainian music belongs to the best national culture pages and it has been studied by musicology, mostly, in symphonic and chamber genres. Instead, choral works are itʼs less studied pearls, in particular, two cycles on the poems by Maksym Rylskyi op. 64 and op. 65 (1964), which are examples of the high level modernistic sound recording in Ukrainian choral art. It gives grounds for their vision in the pan-European musical art panorama in the 20th century. Thus, the study this topic on the example of the Five Choirs cycle op.64, has a high relevance and significance degree for modern science and art practice. The aim of the article is to reveal the characteristic stylistics features of choral thinking in Borys Liatoshynskyi’s Five Choirs a cappella ор. 64 by Maksym Rylskyiʼs poem and to substantiate the modernistic sound recording model in Ukrainian choral music in the middle of the 20th century. The research methodology is related to the following problems: 1) analysis the main studies by B. Liatoshynskyiʼs choral works; 2) analysis the Five Choirs cycle by B. Liatoshynskyi on M. Rylskyiʼs poem through the choral style thinking prism; 3) the typology of modernist sound recording in the specified cycle and the determining a prospects for further research in the declared problem. Scientific novelty. As a result of the style choral thinking analysis in the Borys Liatoshynskyiʼs Five Choirs cycle by Maksym Rylskyiʼs poem it typologize the modernistic sound recording features and substantiate the realization model in the Ukrainian choral music of the 20th century. Conclusions. Modernistic sound recording model that presented in the choral cycle op. 64 by B. Lyatoshynsky was formed on the basis of four stylistics choral thinking types, namely: 1) the polyphonic, quasi secession arabesque lines interweaving («Autumn», «Rain was Noises»); 2) the variant work with melodic formulas on the modern ornamentation example, it creates the special vertically interval phoneme («Rain»); 3) the soft-expressionist harmonic color and polytonality («Wide field»); 4) the sound imagery and modal alteration («Lullaby»). The prospects for further research on the declared topics are the artistʼs choral work analise in the European context and understandingon on this basis the main trends in Ukrainian music as a European phenomenon of the 20th century.