Concerto for domra and orchestra No. 3 by Valery Ivko: vectors of intonational development and genre features
DOI:
https://doi.org/10.31318/2522-4190.2024.141.319205Keywords:
Domra music, the genre of the solo concerto, the compositional work of Valery Ivko, Concerto No. 3 for Domra and Orchestra by V. Ivko, intonational-thematic dramaturgy, the principle of intonated virtuosityAbstract
The relevance of the study consists in highlighting a kind of synthesis of general features of the concert genre and individual features of V. Ivko's compositional style in Сoncerto No. 3 for domra and orchestra.
Main objective of the study is to characterize Concerto No. 3 for Domra and Orchestra by V. Ivko, with emphasis on the vectors of intonational development and the embodiment of the genre's characteristic features.
The methodology includes methods of historical and biographical (to clarify the circumstances of the Concerto's composition), as well as structural-functional, genre, and intonationaldramaturgical methods (for a comprehensive analysis of the work).
Results and conclusions. A detailed analysis of the Concerto No. 3 for Domra and Orchestra by the outstanding Ukrainian performer, educator and composer Valery Ivko has been conducted. This piece summarizes the composer’s long-term work in the concerto genre while showcasing meticulous intonational-thematic development, characteristic of his overall creative method. The principle of continuous intonational development in the concerto is traced at two levels: working with microelements — motifs or even intervals on which these motifs are based — and the repetition or variation of more elaborate structures — musical themes or their relatively complete fragments. The specific features of the compositional organization of the concert cycle and each of its parts have been examined in detail. The relationship between the solo domra part and the orchestra part has been analyzed, highlighting the aspiration for their equality in dramaturgical unfolding.
Attention is drawn to the extreme virtuosity of the solo domra part, which requires exceptional technical preparation from the soloist and makes mastery of the technique of intonated virtuosity — a method introduced by V. Ivko in the educational process — almost a prerequisite for adequate performance. The concerto embodies the principle of play, represented by a mosaic structure and realized through the combination of intonational-thematic elements. It is concluded that Concerto No. 3 is the final homage of the outstanding musician to his beloved instrument, revealing the rich potential of the domra while also reflecting virtuosity as the essence of the Master’s life and creativity
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