"OSTROZKYI TRIPTYCH" BY O. KOZARENKO: EXPERIENCE OF THE COMPOSER`S INTERPRETATION OF THE ORTHODOX MONODY

Abstract

The stated scientific problem is aimed at researching ways of the composer’s reading of forms and genres of Ukrainian liturgical singing. The phenomenon of Orthodox monody, which is a representative of Ukrainian spiritual singing at the stage of genesis, attracts the attention of today’s artists. The urgency of the topic is stipulated by the demand for an in-depth scientific study of the spiritual composing legacy of O. Kozarenko (1963–2023) taking into account its primary sources, because the appeal to the root tradition of liturgical singing – the Orthodox monody – is found throughout the artist’s creative work. This fact is unprecedented in the compositional practice of Ukraine of today. The outlined scientific problem also corresponds to the actual cultural and artistic context of today, which concerns the a cappella choral art and the performing representation of O. Kozarenko’s spiritual compositions. The purpose of the scientific article is to consider the spiritual choral cycle of the artist called "Оstrozkyi triptych" (1994) in the aspect of the composer’s interpretation of the Orthodox monody (songs of the Оstrozkyi napiv (chant)). The methodology is based on a combination of interpretological, genre, stylistic, structural-functional, semantic approaches. The scientific novelty of the obtained results is related to the study of the first spiritual choral composition of O. Kozarenko in the aspect of the composer’s interpretation of the Orthodox monody. The results of the study are summarized in the Conclusions. On the example of the third piece of the cycle "O Tebi raduyetsya" the primary source (of the Оstrozkyi napiv (chant)) is considered as a sample of the hymnography of the Mother of God with a distinction of figurative-semantic, musical-stylistic and compositional-dramaturgical levels of analysis. The available inter-art connections are taken into account through the example of the iconographic embodiment of the text of the prayer of the zadostoynyk (the Icon of the Holy Mother of God "O Tebi raduyetsya"). In the compositional reading of O. Kozarenko, the primacy of the role of the verbal text in the construction of the form, which consists of 5 sections and coda (which were embodied in the corresponding milestones of musical drama: initio – stanza 1, motus – stanzas 2-4, terminus – stanza 5 and coda) was determined.