GENRE AND INTONATIONAL SPECIFICITY OF UKRAINIAN MUSICAL NEO-ROMANTICISM IN YURIY OLIYNYK'S “ROMANTIC” CONCERTO FOR BANDURA AND ORCHESTRA

Abstract

The study summarizes the genre-stylistic and intonational features of Yuriy Oliynyk's "Romantic" Concerto for bandura and orchestra, a monumental work demanded in modern academic bandura performance practice of the diaspora. The purpose of the work is to identify the genre and intonational specificity of the "Romantic" Concerto within the context of Ukrainian musical neo-romanticism and the processes of symphonization of bandura instrumentalism. Methodology of the work. Essential for this work are the genre-stylistic, intonational, musical-culturological, as well as analytical-musicological research methods. The scientific novelty of the work is determined by the fact that it first presents a systematic analytical summary regarding the genre-intonational specificity of the "Romantic" Concerto, which constitutes a key example of academic bandura instrumentalism of the Ukrainian diaspora and establishes the universality of the bandura in a new dramaturgical context. Conclusions. Yuriy Oliynyk's work is a significant contribution to the development of academic bandura art, giving the bandura a new cultural significance – a symbol of the existence of Ukrainians outside the Motherland. The composer operates with diasporic neo-romanticism, which organically combines the heroic spirit and the task of symphonizing the instrument, providing the bandura with the status of a full-fledged concert soloist. Yuriy Oliynyk's "Romantic" Concerto for Bandura and Orchestra (1987) is one of the most large-scale and conceptually significant works for this instrument, which was formed in the wake of Ukrainian diasporic neo-romanticism at the turn of the 20th and 21st centuries. The work acquires the meaning of a heroic-lyrical musical manifesto, which organically integrates the virtuoso tradition of the European romantic concert with the national genre-intonation specificity of bandura art. In this context, the Romantic Concerto acts as an important socio-cultural bridge, demonstrating not only the symphonic universality of the bandura, but also the aesthetic guidelines of diaspora art, focused on the preservation and actualization of national spirituality. A comparison of the Romantic Concerto with other works of this genre in the work of Yu. Oliynyk testifies to the three-fold path of national identity: from neo-romantic heroics to archetypal rooting and global polystylistic dialogue. Thus, the masterful symphonization confirms the universalism of the bandura, capable of integrating historical traditions and the current context of world academic music.