Хорова збірка Валентини Мартинюк “Молюсь за Україну” (на вірші різних авторів) в аспекті циклізації

Abstract

У статті досліджено твори хорової збірки Валентини Мартинюк “Молюсь за Україну”. Розглянуто сюжетну, тематичну, образну, жанрову, стильову спільність контрастних творів збірки. Доведено, що побудова не суворо-детермінованого циклу з п’яти частин має ознаки міцної художньої єдності. Висвітлено патріотичну ідею як наскрізну ідею опусу, що втілено у символах Батьківщини.

В статье исследованы произведения хорового сборнка Валентины Мартынюк “Молюсь за Украину”. Рассмотрена сюжетная, тематическая, образная, жанровая, стилевая общность контрастных произведений сборника. Доказано, что форма не строго-детерминированного цикла из пяти частей имеет признаки значительного художественного единства. Освещена патриотическая идея как сквозная в опусе В. Мартынюк, воплощенная в символах Родины.

The work of the choir collection Valentуna Martyniuk “Praying for Ukraine” was explored. The plot, thematic, figurative, genre, and stylistic community of contrasting works of the collection are considered. It is proved that the construction of a strictly deterministic cycle of five parts has signs of strong artistic unity. Throughout the idea of оpus Valentine Martyniuk embodied in the symbol of the Motherland. The versatility of this symbol is revealed by the sacred traditions of singing and prayer, landscape sketches, and onomatopoeia with natural phonations, images of the mother, the Earth and Mary Virgin, the golden mother tongue. The prayerful discourse and emphasis on the ethnopic space are realized in the stable expressive complexes, which are composed of five choirs, combining them into a cycle. Prayer discourse and discourse of etnoprostol in musical expressions are found to be equally intensive. The prayerful discourse of the musical component is realized in special bell phonical complexes, in the choral and monodyy texture. The world of Ukrainian ethno space is carefully depicted by folk tunes, special metro rhythm and folk ritual genres available in each part of the collection by V. Martyniuk. So, the 1st choir on Svіtlana Cherevko’s poem “Pray for Ukraine” (h-moll) synthesizes a prayer and a folk-lover cradle. The second number is a carol for folk text “Joy, the Earth” (in G). The four-voice chord simulates church singing, and the color harmonization of harmonies is a bell. The exaggeration of choral groups in the over-volume range, the major order assert the emotion of happiness, the joy of heaven, the harmony of the universe. The third issue of “Come Native Mother” (e / h-moll) for the text of Vadуm Kryshchenko sounds in the spirit of the folk lyrical song of the couplet building. The folklore base in the means of expression comes to the fore. Monodia as an invoice of church singing brings forth and sacralizes the images of the house, the mother’s еarth. The fourth volume of the collection, V. Martyniuk, “The Language of Gold”(c-moll) on poems by Andriy Malyshko is written for a small composition (children’s or female choir). It is an image of a bright childhood, future prosperity and affirmation. The fifth issue of “Yabluneva, solovyina” on Yuriy Rybchinsky’s poems sounds accompanied by a strike group. The main theme is intonationally built on the folk poem at the ambitions of the diminutive quintes (in folklore non-octave formal education). By character, the theme is playful, in colorful rhythm colomyikas. The categories of academic and folk music are contrasting with episodes of texture and style. The prayer and folklore aspects of the genre and style are directly opposed and subsequently synthesized, while combining the phenomena of church prayer and folklore ritual and ritual culture. Thus, in the final room of the collection in a single sound space concentrated: choral, simulation of bells, intentional academic singing, voice preservation of different types of texture (monodic and homophonic-harmonic); folk tunes of the genres of the carol, freckle song, kolomyika, instrumental folk music. Similar musical techniques successfully reveal and combine the expressive complexes of Orthodox prayer and the image of national culture, Ukrainian ethnoplast. In this way the author reveals the symbolism of the name “Praying for Ukraine”, depicting in the music its two components – Prayer and the Motherland.