THE LEITMOTIV SYSTEM OF OLEKSANDR KOZARENKO’S “ORESTEIA”

Abstract

The purpose of the paper is to analyze the leitmotiv system of Oleksandr Kozarenko’s melodrama “Oresteia” as one of the most representative chamber-theatrical works of the composer and determine its compositional functions. Methodology. The methods of intonational, genre, stylistic and compositional analysis of the musical text are used. Scientific novelty. A detailed intonational, genre, stylistic and compositional analysis of the leitmotiv system of the most representative Oleksandr Kozarenko’s chamber-theatrical works – the melodrama “Oresteia” (in the second version of the work) has been carried out for the first time in musicology. Six declamatory leitmotivs (misery, murders, deaths, burial, gorgon, escape) and four instrumental ones (improvisation, fanfares, lamento, dance march) are identified, outlined and characterized during the analysis of the leitmotiv system of the work. It is noted that the mentioned leitmotivs of the work serve as one of the most important means of creating artistic integrity of the performance. The branching nature of the leitmotiv system of “Oresteia”, its variability, but at the same time, the enduring emblematic function throughout the entire performance, their expressiveness, good recognizability and semantic significance are emphasized. Conclusions. The overview of leitmotiv connections of “Oresteia” demonstrates the compositional complexity of the work, filled with various intonational-thematic nodes and interweaving. The ten leitmotivs of “Oresteia” (six declamatory and four instrumental) not only serve as a significant means of artistic characterization and artistic integrity of “Oresteia”, but also demonstrate a high degree of improvisational thinking inherent in the entire range of the composer’s texts – his musical works, performance style, public-discussion practice, and also – a high degree of metaphorical nature of the musical text of “Oresteia”. At the level of the leitmotiv system of the work the role of metaphors is primarily assigned to instrumental leitmotivs. Fanfares, lamento, dance march embody the world of Agamemnon and Clytemnestra, while improvisation serves as a sign not only of the creative method, but also of the “Oresteia” Author himself.