Valentyn Bibik: reaching artistic maturity

Abstract

The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.