LITURGICAL SINGING IN THE COMPOSING INTERPRETATION (ON THE EXAMPLE OF “VELYKE SLAVOSLIVYA” (“GREAT GLORIFICATION”) FROM "VSENICHNA" (“ALL-NIGHT”) BY K. STETSENKO)

Abstract

The stated scientific problem is related to the actualization of the masterpieces of the spiritual composing creativity of the representatives of the "new national Ukrainian church music" (N.Suprun-Yaremko) of the first third of the 20th century in the research and performing spheres. The spiritual liturgical compositional creative work of K. Stetsenkо attracts the attention of modern researchers, in particular, in the aspect of the composer's original interpretation of the liturgical tradition and modern performance reflection. The purpose of our scientific article is to consider liturgical singing in a composer's interpretation, using the example of "Velyke Slavoslivya" (1921) from "Vsenichna" by K. Stetsenko in the performing interpretation of the chamber choir "Kyiv" (conductor M. Hobdych, 2013). The methodology of scientific research is based on a combination of historical-cultural, genre, stylistic, compositional-dramaturgical, interpretative approaches. The scientific novelty of the obtained research results is connected with the discovery of innovative genre-stylistic features of the liturgical creative work of K. Stetsenk on the example of "Velyke Slavoslivya" from "Vsenichna" in the aspect of the continuity of the tradition of spiritual singing and the performed interpretative analysis of the performing version, which appears as a reference model in modern performing practice (the chamber choir "Kyiv"). The spiritual order of "Velyke Slavoslivya" of K. Stetsenko expresses an organic combination of a hymn of praise and a penitential prayer. Appealing to the psalm type of presentation, the composer combines recitative with a sung melody-chanting. In the Conclusions, the view on the liturgical choral creative work of K. Stetsenko is substantiated as the embodiment of the tendencies of national style formation in the musical culture of Ukraine of the first third of the 20th century, which is determined by the continuity of the tradition of liturgical singing and reliance on the principles of national folk singing.