UKRAINIAN SIGNIFICANCE OF BORYS LYATOSHYNSKY'S CREATIVITY

Abstract

In the proposed article B. Lyatoshynsky appears as a bearer of Ukrainian identity in the national musical culture of the first half and middle of the twentieth century. It is noted that his music during the reign of proletarian ideological discourse was considered to be difficult for the listener's perception because of its expressive intellectual component and deep symbolism. It is emphasized that during the 1920s there was a division among Ukrainian musicians into Ukrainian and Russian composers, as the latter did not seek to integrate into the Ukrainian culture of that time as "peasant" and "narrowly ethnographic". The allegations about the then orientation of B. Lyatoshynsky as a Russian composer who lived and worked in Ukraine are substantiated. After all, it was in the 1920s that he wrote "Overture on Four Ukrainian Themes", a choral miniature based on T. Shevchenko's words "Water flows into the blue sea", the opera "Golden Hoop" - works that became iconic for Ukrainian culture and determined the further vector of creative activity of the artist. It is noted that the composer always tried to identify the dramatic features in those ethnic style themes, the intonations of which he used. It is stated that in the use by Lyatoshynsky signs of Western European and national musical semantics is a certain commonality, the basis of which is an expressive speech function. Therefore, these signs in the artist's work intersect precisely in the plane of the tragic. From the melodies of lyrical songs, the composer usually chooses fragments marked by dramatic features, and thus radically changes their character. Emphasis is placed on the Slavic mentality as an intonation dominant and stylistic landmark of Lyatoshynsky's thinking. Modeling the features of the oral code, he uses the most characteristic features not only of Ukrainian ethnomusical intonation, but also Western and South Slavic, finding common features and combining them in his works.