THE GALICIAN NAPIV (CHANT) IN THE COMPOSER’S INTERPRETATION OF O. KOSHYTS (ON THE EXAMPLE OF “DOSTOYNO EST’” FROM THE FOURTH LITURGY)

Abstract

The relevance of the problem is stipulated by the demand for research into existing composer’s readings of the Galiciannapiv as a phenomenon of the domestic spiritual tradition in the creative practice of artists of the past and present.The purpose of the scientific article is to characterize the composer’s interpretation of the Galician napiv using the example of “Dostoyno est’” (No. 22) from the Fourth Liturgy (1938) by O. Koshyts. The methodology is based on the involvement of a complex of approaches, including: cognitive, genre, style, structural-functional, semantic, comparative, applied in the comparison of the monodic primary source with the author’s composition of O. Koshyts, aswell as the interpretative one, used to focus attention on the qualitative parameters of the interpretation of UkrainianOrthodox church monody in the composer’s legacy of O. Koshyts. The scientific novelty lies in the fact that in the scientific investigation for the first time there were researched the chants of the Galician napiv in the spiritual composer’s creative work of O. Koshyts on the example of a selected sample from the Fourth Liturgy – a cycle created on the basis of the Galician napiv; a compositional and dramaturgical analysis of “Dostoyno est’” by O. Koshyts was carried out taking into account the original source of the monody. The Conclusions state that “Dostoyno est’” by O. Koshyts is an example of the intersection of two systems: monodic and polyphonic, which is defined as a polymelodic whole. Thus, the analysed chant is interpreted as a “multiplied” monody with the preservation of the originality of the ancient sample in the original author’s reading. O. Koshyts achieves a new quality of embodiment of the monophonic primary source of the Galician napiv while preserving its stylistic and genre constants in the conditions of polyphonic thinking, whereeach voice retains its own value. The composer focuses on the genre of the primary source as a liturgical sample, which becomes a sign of belonging to the liturgical type of culture – Communion.