СЕМАНТИКА І ТЕХНІКА У КАМЕРНОІНСТРУМЕНТАЛЬНОМУ ПИСЬМІ АНТОНА ВЕБЕРНА: ВІД ТРАДИЦІЇ ДО АЛЬТЕРНАТИВИ

Abstract

The works of Galician composers of the interwar period were removed from the concert repertoire for too long and, accordingly, its performing tradition was lost. For almost the entire Soviet period, it was either completely silenced, or the idea of its inferiority was insistently emphasized in authoritative musicological sources. The ability to explore and implement it began to revive only in the years of Ukraine's independence. However, the initial stage was the scientific research and reproduction of historical memory: the specifics of the political and cultural situation, social and national significance of composition and concert activities, sources of professionalism and achievements, recognition of artists at home and abroad. The next step was the publication of thematic and author's collections, and the availability of music editions opened for interested performers the opportunity to return to the public consciousness important figures of Ukrainian musical culture of Galicia in the first half of the twentieth century, and their works - in the performing tradition. Despite the fact that musicological studies of Galician musical culture of this period abound in detailed arguments of unusual artistic value, meticulous comparative analyzes, assessments of famous contemporaries, enthusiastic announcements of the archival press - its true return and approval is still very far. The purpose of the work is to reveal the artistic values and performance potential of the work of one of the contemporary composers S. Lyudkevych, Zinoviy Lysko. The research methodology was determined by a set of methods: analytical method - in the study of scientific literature; historical - in the analysis of the peculiarities of the formation of traditions of performance and principles of piano creativity and performance in the context of artistic and cultural life of Western Ukraine; retrospective and structural-systemic in the analysis of sources. The scientific novelty of the study determines the approach to the disclosure of the process of forming an interpretive version of the sonata from the standpoint of historical awareness. The history of Zinoviy Lysko's Sonata for Piano has a rather complicated path. More than 80 years have passed between the last (fragmentary) performance of the sonata in Lviv by Galya Levitska in 1935 and its revival in parallel in the author's project "Galician Context" and "Ukrainian Live Tour". However, it again arouses well-deserved interest and emotional response in the audience, being a work of national character, unusual artistic solution and high compositional skill. Comprehensive scientific research of the cultural context, publication of notes, involvement of the work in concert programs in various performance readings and, finally, recording in the funds of Ukrainian Radio - these are the necessary steps that lay the foundation for consolidating the work in the performance tradition.