Тенденції розвитку камерно-інструментального ансамблю у творчості Юрія Ґіни

Abstract

У статті розглянуто творчість одного зі сучасних композиторів Буковини – Юрія Ґіни, зокрема його камерно-інструментальну музику. Розкрито процес розвитку професійного скрипкового мистецтва на Буковині, проаналізовано засади формування скрипкової музики регіону. Охарактеризовано особливості творів скрипкового ансамблю, на основі яких виявлено стильові риси творчості композитора.

В статье рассматривается творчество одного из современных композиторов Буковины – Юрия Гины, в частности его камерно-инструментальная музыка. Раскрыто процесс развития профессионального скрипичного искусства на Буковине, проанализированы принципы формирования скрипичной музыки региона. Охарактеризованы особенности произведений скрипичного ансамбля, на основе которых выявлены стилевые черты творчества композитора.

The present article dwells on the work of one of contemporary composers of Bukovina – Yuri Gina, in particular his chamber-instrumental music. The process of development of professional violin art in Bukovina is revealed, the principles of the formation of violin music of the region are analyzed. There are characterized the peculiarities of the compositions for the violin ensemble, on the basis of which the stylistic features of the composer’s work are revealed. From the middle of the XX century Yu. Gina became the source of the national Ukrainian violin and orchestral art of the Bukovina region. Gina’s music for violin and violin ensembles has different levels of complexity, because, working as a teacher at a music school, the composer created many works for children, works to be performed by children ensemble and orchestra. The compositions written for violin ensembles and solo performances include various spheres of images: from patriotic themes (Rhapsody “Our native is the dearest”) to lyrical and humorous works (“Humoresque”). The characteristic feature of Yu. Gina’s creative work is the tendency to specify the content of the works using the program name. Genre programming, enriched with national motifs of Bukovіnian dances (“Gora”, “Sadagurska polka”, “Holiday dances”, “Round dance”), prevails among the original works of the author. In the works of the Bukovіnian composer, a special place belongs to an ancient Moldovan and Romanian dance “Gora” (Khora), which is a kind of a round dance. For his interpretation of the genre, Gina chose an instrumental type of the dance. The most large-scale, thematically and figuratively rich composition of Yu. Gina is Rhapsody “Our native is the dearest”, which is presented by the composer for the chamber-instrumental ensemble and chamber orchestra. This work is an example of the composer’s search work in the field of ensemble “non-canonical” compositions. Yu. Gina made an interesting invention by involving a vocal episode in the poems of the Bukovіnian poetess T. Severnyuk in an instrumental work that brings the vocal-instrumental rhapsody to the poem composition, thus creating a synthetic genre. Guided by the traditions of the instrumental West European genre of rhapsody, Yu. Gina brought the features of the national composition “Thoughts-Noises” with the contrast of its character, presentation, tempo, etc. Compositions for the violin ensemble of Yuri Gina naturally fit into the overall picture of the development of the Ukrainian instrumental ensemble. In the original works of the composer there can be vividly traced the tendencies of the new style trend – folklorism, which became the peculiar feature of creative work of many West Ukrainian composers. Guided by the traditions of the Ukrainian national style aimed at using folklore elements in the author’s interpretation, Yu. Gina, as well as M. Lysenko, and in the field of chamber and instrumental ensemble – as well as V. Kosenko, P. Kozytsky, M. Kolyada, D. Klebanov, M. Skorulsky, S. Lyudkevych, M. Kolessa, O. Znosko-Bobrovsky and others, applied genre-characteristic type of program character. However, in his works of national character and trend, Gina combines the features of various, in particular, Ukrainian, Hutsul, Moldovan and Romanian national cultures. This type of polystylistics, even within a single, folkloristic direction, characterizes the work of the composer, since the environment in which Yu. Gina’s talent grew and developed, was multinational, where the signs of cultures of many peoples living in Bukovina were intertwined.