Ukrainian symphony: markers of national identity
The article examines the situation in the Ukrainian symphonism of the 1970–1980s in the light of a new understanding of the national tradition and its components. The dominant role of the symphony presented during these years in different genres (epic symphony, meditation, pamphlet, burlesque, etc.) and dramatic types (dramaturgy of dynamic statics, epic, “stylistic drama”, with or without a narrative, “linear” and “parabolic”) is underlined. The role of integrative processes that form a new vocabulary based on the experience of European symphony and the national school of composition, various musical practices (for example, jazz), the experience of other types of art (literature, painting, theater, cinema) are emphasized. As an example, the author analyses Lev Kolodub’s Third Symphony “In the Ukrainian Baroque Style” (1980), the program of which is connected with the play “Song in a Glass” by Ivan Kocherga (1910). The author identifies a system of baroque signs in the symphony, its national essence based on the Ukrainian secular culture of the late 17th–18th centuries (guild marches, canticles, Skovoroda’s songs); emphasizes the function of “sound directing” in the creation of “musical stage design”. The role of a hidden evaluative plan (the author's position), which manifests itself in an ironic, good-naturedly mischievous presentation of the material, is noted. The novelty of L. Kolodub’s burlesque symphony as a result of a multidimensional synthesis – both historical (baroque-classicism-modernity) and interspecies (music – theater) is argued.
tradition, national, symphony, dramaturgy, burlesque, baroque.
Zinkevych E. Ukrainian symphony: markers of national identity // South-Russian Musical Anthology. 2021. No. 4. Pp. 97–106.