Poetic and music interpretations of Twelfth Psalm (Artemij Vedel, Taras Shevchenko, Myroslav Skoryk)

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Relevance of the study. The Book of Psalms has always been an inexhaustible source of inspiration for many generations of artists, and still has not lost its relevance. The Ukrainian musical art has created a huge array of works of different genres on the basis of psalm texts, including various translations, which opens up wide opportunities to study several musical interpretations of the literary primary source. The main objective of the study deals with the features of the conceptual dramaturgy in the author’s interpretations of Psalm No. 12 by T. Shevchenko and M. Skoryk comparing it with the Church Slavonic source and its reading in the sacred concerto by A. Vedel.The scientific novelty of the research lies in the analysis of microintonation deployment in the choir “Are you my dear God forever forget me?” by M. Skoryk, in identifying features of the conceptual dramaturgy of the work in its indissoluble connection with the verbal basis — the author’s poetic translation of Psalm No. 12 by T. Shevchenko. In the article for the first time the comparative method was used concerning musical works written in different verbal texts (Church Slavonic — in the concert of A. Vedel “Will you for ever put me out of your memory, O Lord?” and the poetic arrangement of the psalm in the choir by M. Skoryk). This specificity needs the consideration of peculiarities existing in the interaction of text and music at the level of compositional and dramaturgic plans of two works.The research methodology is based on a combination of the empirical method and general scientific and logical methods of analysis and synthesis, methods of theoretical and historical musicology, which allowed us to analyze the composition and expressive means used by composers, to identify the style features of the works. The hermeneutic approach has been applied in the analysis of concepts of elements considered and involved in spiritual works. The use of the comparative method has made it possible to consider two verbal versions of Psalm No. 12, to reveal the measure of correspondence to the verbal source of the musical interpretation of the Psalm in the work of M. Skoryk and finally reveal common and distinctive features in two musical interpretations of the Psalm by A. Vedel and M. Skoryk.Results and conclusions of the study. The composition and dramaturgical specificity of two verbal texts has been outlined and the relationship with it of two musical interpretations has been considered. The micro-intonational process of unfolding in M. Skoryk's choir has been revealed, the role of tonal dramaturgy, in particular two planes — flat and sharp, connected with negative and positive images, respectively, were noted. Extremely delicate sensation by the composer of the structure of Shevchenko's text and its adequate embodiment in the compositional work plan were emphasized. The common in the reading of the psalm by both composers has been noted as an extremely dramatic text including the sixth verse of glorification. At the same time, an idea was expressed about the more tragic character in M. Skoryk’s interpretation in comparison with Shevchenkov’s poetic arrangement. A great measure of “theatricalization” (personalization and visualization) has been noted in the concerto of A. Vedel, as well as the dynamic characteristic of modern man in the sense of time — in the work of M. Skoryk, which manifests itself in the aphoristic nature of the statement.