Neo-romantic features of Valentin Kostenko (on the example of the cycle "12 romances on the words of Lesia Ukrainka")
DOI:
https://doi.org/10.31318/0130-5298.2018.44.0.152859Keywords:
Valentin Kostenko's creativity, vocal cycle, aesthetic concept, style synthesis, neostilistics, dramaturgic ideaAbstract
The individual-style aspect of creativity Valentina Kostenko (1895-1960), Kharkov composer, music critic, philosopher, teacher, attracts attention by the non-linearity and eccentricity of creative searches. The tragic trajectory of the fate of the Ukrainian intellectual generation of the 20-30s of the 20th century reflects the complex process of forming an original Ukrainian art in the conditions of totalitarian ideology. The relevance of the research consists in posing the question of the neo-romantic stylistics of one of the little-known chamber-vocal works by V. Kostenka on the verses of L.Ukrainka, determining his role in the formation of the national style model.
The main objective of the research is to elucidate the historico-aesthetic paradigm of Valentin Kostenko's creativity, the neostylistic perspective of his compositional thinking on the example of the vocal cycle "12 solospiviv on the forestry of Ukrainians". Applying methods of complex analysis, namely: the historical-genetic method for studying the features of the genre-style evolution of creativity V. Kostenka; hermeneutic and semiotic methods for understanding the essence of the styling process of the author; musical-intonational and holistic analysis for studying the specificity of the musical-style concept of the studied vocal cycle in the context of the national style model, the results of the study were obtained.
Main results and conclusions of the study. The effectiveness of researching the neostylistic component of V.Kostenko's creativity consists in revealing innovative compositional-dramaturgic and intonational features of the composer's thinking. They were formed in a certain artistic-aesthetic situation and represented the process of updating of national musical language, expansion and enriching of her genre-intonation semisphere, semantic limits. For example, chamber and vocal works for baritone and mezzo-soprano "12 songs to the words of Lesya Ukrainka". Kostenko identified neo-romantic traits of the thinking of the composer. Among them: deep psychologism and through dramatic development, which relate the structure of the cycle to the type of mono-opera, reliance on ariosity-monologic expression, the use of intonational refinement techniques, the combination of authorial, professional and folk structures allow us to identify the neoromantic concept of the musical language of this work. Innovation, excellence and credibility the musical language of this song cycle can be attributed to the apical patterns of Ukrainian chamber-vocal lyric poetry of the 1940s and 1950s.
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