PERFORMANCE CONCEPT OF THE CANTATA-SYMPHONY “CAUCASUS” BY ST. LYUDKEVYCH: THE INTERACTION OF CONTENT MUSICAL AND POETIC LEVELS IN THE CURRENT HISTORICAL SITUATION

Abstract

The cantata-symphony “Caucasus” by Stanislav Lyudkevich to the words of the immortal poem by Taras Shevchenko at the modern stage reveals an amazing consonance with the spirit of a turning point in Ukrainian history. Thus, the problem of a new performing concept arises, in which it is important to find a “golden mean”: on the one hand, not to lose the authenticity of the author’s idea, to express its philosophical and ethical as fully as possible – and not only purely artistic! – essence. On the other hand, the amazing consonance of the images of the “Caucasus” with our tragic present encourages a new reading. The embodiment of late romantic tendencies in Lyudkevich’s work in genere, in the basic principles of his individual style, is considered. The development of a peculiarly national line of choral cantata, primarily by Lysenko, is emphasized, in compliance with the main principles – a combination of a peculiarly Ukrainian song intonation with a European romantic system of expressive means. For Lyudkevich, the inventive combination of national traditions and the achievements of modern compositional techniques in the musical language of the cantata-symphony was a completely conscious choice. On the basis of the available theoretical research, the original performance concept of the cantata-symphony “Caucasus” is presented, in which the actual “overtones of content” generated by today’s situation are emphasized. Another important impetus to the interpretation of the entire cycle, starting from the first theme – the seed of the entire further development of the cycle, which receives the symbolic definition of the “mountain theme” and to the solemn majestic finale-anthem, was the interpretation of this masterpiece by Lyudkevich as the Ukrainian Ninth Symphony, by analogy with Beethoven. The “Beethovenian” character of the performance, which combines majestic solemnity and drama, is the main reference point of the author’s concept. This parallel was prompted by the statements of many famous musicians who called the cantata-symphony “Caucasus” “our Ninth Symphony” – a very apt definition that reflects the powerful spirit of this music, its drama and at the same time epicness.