«Elegy» and «Hutsul circle» for domra by Oleksandr Nekrasov: genrestyle and performance features
DOI:
https://doi.org/10.31318/2522-4190.2025.144.347645Keywords:
genre, style, miniature, domra performance, compositional works of Oleksandr NekrasovAbstract
The relevance of the study consists in the need for detailed examination of domra miniatures in order to provide appropriate interpretation of the pieces through in-depth analysis of the compositional style and determination of genre-stylistic and performance specificity. Main objective of the study is to outline the genre-stylistic and performance features of "Elegy" and "Hutsul circle" for domra and piano by Oleksandr Nekrasov. The methodological foundation is based on the application of the following methods: source study and textological methods — in the analysis of musicological literature on the selected topic; musical-textological method — for outlining interpretative versions of the miniatures; intonational, analytical, stylistic and comparative methods — for establishing the genre-stylistic and performance features of the two compositions.
Results and conclusions. The compositional techniques used by O. Nekrasov demonstrate the composer’s aspiration for individual expressivity, the search for innovative methods of conveying artistic content, as well as engagement in experimental practices. His attempt to transcend traditional forms underscores innovation, originality, and the endeavor to realize creative ideas through innovational means of expressing both content and the emotional dimension of a musical work, thereby emphasizing the composer’s distinctive style. “Elegy” and “Hutsul Circle” are miniatures exemplifying through-composed dramaturgy, manifested in the continuous thematic development, their interaction, and skillful expansion, resulting in coherence and dynamic progression within the pieces. Attentive attention of the composer to details has been noted, particularly regarding dynamic, fingering, and articulation aspects. The use of chromatic elements by the author in the compositional technique has been revealed in the cantilena at both micro- and macro-levels, along with the application of programmatic elements, specifically the creation of the effect of circulation in the virtuoso piece across various levels — from a single measure to the overall structure of the work. These findings have served as the basis for characterizing the artist's thinking as expansive.
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