| Popis: |
The purpose of the article is to analyse the specifics of choral religious pieces by the Ukrainian composer Viktoriia Polova on the example of Luminous Canticles. The methods of studying the features of the artist’s choral style requires the use of the analytical method. The comparative method is necessary to highlight the nature of the relationship between individual creativity and previous artistic choral practice. The synthesis method is used to distinguish the philosophical and aesthetic basis of the Ukrainian composer’s work. Results. The choral works of leading Ukrainian composer Viktoriia Polova are an outstanding phenomenon in the context of contemporary national and world musical art. They are a kind of bridge between the traditions of the past and contemporary composer techniques. The verbal text is a source of inspiration for the artist, who forms musical fabric based on it. The choice of canonical texts in religious works signifies V. Polova’s creative method. The phonism of choral singing is used to convey sacred and divine images. The turning to the traditions of Renaissance polyphony, Znamenny Chant (Eastern Orthodox Church traditional singing — translator’s note) is combined with sonorous complexes and minimalism aesthetics. The compositional and phonic architectonics aim to reproduce the idea of the harmony of the world, which is implemented by the means of choral sounding. Contrasting comparison of different figurative spheres and tonalities is the basis of the composer’s style, in which there is no place for drama and conflict. The colouristic of the harmonic verticals is formed due to the logic of the polyphonic unfolding of the individual vocal layers. The scientific novelty of the article is in highlighting the specificity of Viktoriia Polova’s choral compositions and distinguishing the stylistic dominants of her creative method. |
