Spiritual choral music of modern Kharkiv composers: stylistic parameters

Abstract

Statement of the problem. The Kharkiv composer school is rich in artists who turn to the tradition of church music and embody it in various modifications. The concert type of sacred music, reflecting the style of the postmodern era, is clearly expressed in the work of O. Shchetynsky, V. Muzhchil, I. Haidenko, M. Shukh, and others. However, it is important to pay attention to the work of composers representing the church type of culture and known only in the narrow circle of regents. The purpose of the study is to identify the stylistic features of spiritual choral works by modern Kharkiv composers Volodymyr Fainer, Liudmyla Vyshnevska, Vasyl Borysenko, whose creative activity is connected with the direct practice of temple singing. Recent research and publications showed that the choral works by V. Fainer is explored rather well, first of all, in the articles of S. Anhelovska (2010), while L. Vyshnevska‘s and V. Borysenko‘s compositions almost are not researched. The scientific novelty of the paper lies in systemating of information about V. Fainer’s work, as well as in the first experience of genre-stylistic analysis of spiritual choral works written by L. Vyshnevska and V. Borysenko. Research methods. The study of the spiritual choral work of modern Kharkiv composers required the interaction of general and special scientific tools (historical, genre-semantic, stylistic, functional-structural research methods) taking into account the concept of ‘Homo credens’ in liturgical choral genres (Shapovalova, 2010). Results and conclusion. The style of thinking of the 21st century spiritual composers is characterized by a combination of tradition and innovation, by genre diversity, and stylistic searches. The artists, whose work is focused on the traditional models and liturgical function of the spiritual genres, deserve on special attention. So, V. Fainer created his own original style of church works, using polyphonic techniques subording to contemplative prayer moods. L. Vishnevska masterful uses emotional expressive melody, colorful harmony and choral timbres, developed dramaturgy, bright climaxes, due to that her choral works can be performed both at Divine services and in concert format. V. Borysenko gravitates to the tradition of ancient orthodox church chants, varying often only one theme by harmonic and textural-timbral means. In general, their creative work is oriented towards the traditional genre model in its primary confessional source with the use of the indnvidual author’s music language. Their works are marked by a sincere prayer orientation and high spirituality, which appeals to the ethical values of Christianity, deeply rooted in the national self-consciousness of Ukrainians.