The Vocal Cycle of Vitalii Hubarenko “Hold Out The Palms” in a Modern Musical Project

Abstract

An individual performing project dedicated to the anniversaries of the CherkashinHubarenko family, which is consisted of a series of concerts, a program “Family Album” and a studio recording of an audio CD called “Poetry and Music” (performed by Valeria Tulis (vocals) and Olena Shchoholieva (piano)), was considered. A detailed report was made on the approbation of this concert program, which had included bright examples of chamber and vocal music by Vitaliy Hubarenko and Iryna Hubarenko, as well as Mykhailo Shukh (based on poems by Iryna Hubarenko). Particular attention was drawn to a new wave of interest in the work of father and daughter. In this regard, other concert programs in Ukraine and abroad with the participation of various performers were mentioned. Attention was focused on the vocal cycle of V. Hubarenko “Hold on the palms” to the words of V. Sosiura op. 26 which is one of the works of the presented concert program. The latest research on the life and work of V. Hubarenko in general, and the selected work in particular, were analysed. The vocal cycle “Hold out the palms” already has its own performance history, so the multiple performances of the past years were mentioned, where it was performed as part of the anniversary author's concerts during the composer's life. Oleksandr Vostryakov became the most famous interpreter of the cycle and the performer whom V. Hubarenko especially appreciated. The most important features of his performance version accompanied by an orchestra are emphasized, in particular the attraction to the opera style of singing, scale, dramatics of expression. The vocal cycle “Hold on the palms” by V. Hubarenko, written in the original for tenor and piano, was analysed in the new performance aspect. The poetic text was edited, which made it possible to perform a tenor cycle in the female version and determined its individual creative understanding. New approaches in the interpretation of this cycle were identified, namely: the creation of a touching female image, the emphasis on the song-chamber, intimate-lyrical tone of this music. Attention was paid to the subordination of all means of musical expression to the composer's own perception and understanding of the poetic source. Emphasis was placed on the importance of the piano part in revealing a wide range of feelings and emotional states, in giving more metrorhythmic freedom to the soloist. The role of ensemble interrelation, “creative tandem” of performers in the formation of the general figurative impression was determined