“Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko: conductor’s concept

The purpose of the study provides a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko creating process coverage. The methodology. Methodological principles are based on the historicism, genre-stylistic, intonation-dramaturgical and interpretive types of analysis, that are used to create a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko. The results. The development of the conductor’s concept is a process that covers worldview, analytical and creative-executive systemic levels. A conductor-choirmaster, first of all, must understand the artistic idea due to which V. Kyreiko combined the national philosopher’s poems into a choral diptych. In the first chorus “Ah, the fields” (“Akh, polia”), the essence of H. Skovoroda’s pantheistic doctrine is revealed, enriched with choral means of expression: sound imagery, antiphons between female and male choirs, nominal “dialogues”, a combination of diatonicism and tart, rich harmonies with a dynamic pastel palette. As a result, it creates an image of the Eden Garden, where the hero finds peace and happiness. The second chorus of the diptych “Seeing this life’s woes” (“Vydia zhytiya seho ya hore”) represents the hero’s difficult path to God and to understanding His mercy. The composer creates an artistic sound image due to monody, ostinato, sound imagery, multi-layer character, symbolism, textural and stroke diversity, contrasting dynamics and pleading intonations, the origins of which are found in a national folklore. Two choruses by V. Kyreiko on the H. Skovoroda’s texts, while revealing the spiritual meaning of the brilliant Ukrainian philosopher’s poems, receive features of the neo-baroque style due to the introduction into the XX century’s sound-space of the XVIII century’s poetic heritage, and rhetorical figures (symbols of the Baroque era) introduction into the musical canvas of the choral works. The chorus “Seeing this life’s woes” contains a Renaissance opposition: despair — hope, and chorus “Ah, the fields” represents the beauty cult, which gives the choral diptych Neo-Renaissance features. Despite the genre and figurative contrasts of these compositions (choral miniature-scenery and dramatic monologue), let’s emphasize the common features between the choral work by V. Kyreiko and the poetic primary source, which directs the development of choral dramaturgy. The use of couplets as a song carrier, which follows the structure of H. Skovoroda’s poems-songs, appears developed and enriched. The movement acceleration is facilitated by the comparison of sections in chorus “Seeing this life’s woes”, which are built according to the contrast principle, and concert baroque style in chorus “Ah, the fields”. In the choral compositions’ finales, the rhythmic and harmonic unity of the choral array reaches the highest culmination and provides “Two choruses on H. Skovoroda’s poems” with a logical completion in the disclosure of the artistic content. A conductor’s concept of Skovoroda’s diptych by V. Kyreiko represents two Worlds: Eearthly and Heavenly, where the renewal of the hero’s soul, the search for a path to happiness in harmony with nature and hope for God’s mercy and salvation in the highest world take place. This concept must be realized in the choir performance interpretation under the choirmaster’s direction. The scientific novelty. The scientific novelty lies in the conductor’s concept of “Two choruses on H. Skovoroda’s poems” by V. Kyreiko development, which will contribute to its realization in choral reproduction. The practical significance. The obtained results’ practical significance is determined by the need to find a conductor’s concept for an adequate composer’s intention interpretation.