The Viola Music of Yevhen Stankovych as a Phenomenon of Composer`s Creation
Keywords:viola, viola music of Ye. Stankovych, instrumentalism, Ukrainian music
Instrumental music occupies one of the leading positions in the Ye. Stankovych’s creativity – great connoisseur of the orchestra and the leading composer-symphonist of modern Ukraine. He makes excellent use of his knowledge not only in orchestral and chamber-instrumental works, but also in solo – mainly instrumental concertos. Viola compositions occupy a special position among them. This fact is directly indicated by the personal attitude of Ye. Stankovych – both of his viola concertos were included to the programs of his anniversary evenings in 2002 and 2007. The lack of comprehensive research of his viola works determines the obvious relevance and scientific novelty of our article. Its main objective is to create an integral panorama of composer’s viola music and determine the dramatic role of viola’s solo in his scores.
The research methodology is represented by a complex of various methods, among which especially important are: historical and biographical (applied during the study of the circumstances of viola works creation); structural and intonational analysis (during musicological analysis of music), as well as comparative (when comparing them with each other).
The results of the research. The analytical section of the article includes all viola compositions written by composer: «Concerto No. 1 for viola and orchestra»; «The highland legend» for viola and piano (orchestra); «Symphony-concerto for viola and orchestra», «Chamber Symphony No. 15 for viola and chamber orchestra». The author studies the history of the creation and subsequent concert life of these opuses, as well as their compositional structure and features of instrumental embodiment. Particular attention is paid to the way, in which Ye. Stankovych uses the capabilities of the solo viola, interprets its timbre. It was found that the uniqueness and exceptional richness of the timbre palette of this instrument, which in the world music history the most often associated with compositions of philosophical direction, is maximally revealed by the composer and, obviously, attracts him with its unlimited possibilities for embodying such imagery, key to his style.
Based on this, the conclusions focus on the fact, that viola personifies the own voice of the composer, his personal thoughts and experiences. It is also said about the significance of this article – it can serve as a basis for further researches and draw more attention to the considered works.
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