THE IMAGE OF ANCIENT KYIV IN UKRAINIAN PIANO MUSIC OF THE 1980S (ON THE EXAMPLE OF THE PROGRAM CYCLES OF B. FILTS, I. SONEVYTSKYI, H. SASKO)

Abstract

The aim of this paper is to reveal the specifics of embodiment of the image of ancient Kyiv in the piano program cycles: «Kyiv Tryptych» by B. Filz, «Tryptych» by I. Sonevytskyi, «Echo of the Centuries» by H. Sasko.

Research methodology is based on a systematic approach, including a number of general and special methods, in particular, historical, historical and cultural, typological, comparative and semantic.

Results. The considered cycles belong to different types of programmatic composition: generalized and pictorial. The compositions are based on the suite principle consisting in the contrasting alternation of different in character parts. The image of ancient Kyiv consists of three main areas: sacred and Christian, epic and dramatic and folkdom. A special role in the plays of sacral-Christian and epic-dramatic imagery is played by the leit-theme «bell» in different intonation characteristics. The embodiment of the sacral-Christian imagery sphere is also connected with the thematicism imitating church-monodic singing. A common feature of the stylistics of the three cycles is the use of toque movement, describing epic-dramatic and folkdomestic imagery. In depicting the folk and domestic sphere in all the works there is a generalized intonational connection with the folklore stylistics of songs and playing-alongs.

The scientific novelty consists in the disclosure of the specific figurative content of the program piano cycles devoted to the theme of Kyivan Rus.

The practical significance of the study is associated with the possibility of using its results in lecture courses on the history of Ukrainian music and in the performance practice of pianists.