| Popis: |
The original interpretation of the genre "instrumental concerto" in the works of Myroslav Mykhailovych Skoryk on the material of Concerto №1 for cello and orchestra is considered in this research. The influence of the stylistic penchant to the "new wave of folklore" on the works of young composers of the sixties and in particular Myroslav Mykhailovych is revealed. Myroslav Mykhailovych's personal attitude to the genre of instrumental concerto is emphasized in his individual interpretation of the dramaturgical and lexical features of classical structures. It is established that different periods of the composer's work reflected the passion of Myroslav Mykhailovych to different genres and styles, but Ukrainian folk music remained the basis of his works. The personal approach of the composer in the use of Hutsul folklore in the orchestra part is determined. An analysis of the Hutsul Triptych is made, emphasizing the original idea of Myroslav Mykhailovych in creating a special spatial effect, thanks to which the music acquires a three-dimensional sound. It was found that the works of young composers in the genre of instrumental concert were not very popular among young performers, due to which the problem of actualization of this genre in the musical culture of Ukraine of the twentieth century was noted. A comparative analysis of the "Carpathian Concerto" and the Concerto №1 for cello and orchestra was made in the paradigm of changing the composer's thinking under the influence of new stylistic trends. Due to a careful analysis of the Concerto №1 for cello and orchestra, the influence of the "new wave of folklore" and neo-romantic style was revealed, which is why special attention was paid to revealing the main idea that Myroslav Mykhailovych has expressed in the work. It is established that this work is one of the significant stages of Myroslav Mykhailovych's creative development, which summarizes a certain period of his work. Many outstanding discoveries in the field of culture of that time were carried out to clarify the epoch of "curtain of silence" in the Brezhnev period in order to prove the low activity of promotion of the author's concertos including the Concerto №1 for cello and orchestra when it was presented for the first time.. |
