World Literature in Reflections of Contemporary Ukrainian Composer Ludmila Yurina

Abstract

For the first time in Ukrainian musicology L. Yurina’s compositions of different periods were analyzed: Ran-nan for 19 strings (1993), As soon as possible for oboe solo (1997), Funny Death onA. Ginsberg’stext for 8 voices (1998), Herzstuck on the text byH. Müller (2006) and mono opera Lady Lazarus (2013–2016) for soprano, piano and electronics, influenced by S. Plath, J. Joyce and R. Bach. It was found that the vast majority of L. Yurina’s works are programmatic. The figurative content of the poetry and literature that attracts the composer is extremely broad. In the early period of creativity, these were sacred Tibetan texts, later prevailed an interest in modern French (E. Ionesco), American (S. Plath, R. Bach, A. Ginsberg), Irish ( J. Joyce), German (H. Müller) and other poets and writers. The artist is puzzled by the age-old philosophical problems of life and death, love and indifference, painful search for a place in society, and the tragic inability to reconcile with the cruel world. L. Yurina’s musical aesthetics is distinguished by avant-garde searches in different styles and techniques of composition, openness to technological experiments, synthesizing the principles of European and Eastern musical thinking. The composer uses advanced performing techniques for instruments and voices, paying great attention to the spatial qualities of the sound. Her favorite techniques are working with timbre, sonoristics, aleatory, atonality, quasitonality, quasi-seriality. However, technological innovations are not an end in itself for L. Yurina, their use is aimed at adequate realization of the composer’s plan.