PERFORMING PRINCIPLES OF VICTOR KAMINSKY'S CHAMBER-INSTRUMENTAL STYLE (ON THE EXAMPLE OF THE FIRST QUARTET)

Abstract

The article deals with the foundations of the chamber-instrumental style of the contemporary Ukrainian composer Viktor Kaminsky on the example of his First String Quartet. On the basis of generalization of thematic and genre priorities, principles of musical expressiveness represented in the chamber sphere, as well as referring to musicological studies of this segment of Kaminsky's work, conclusions are drawn about the specifics of his chamber instrumental style. It includes: a tendency to program titles-symbols; a variety of genre models and their inventive innovative interpretation; synthesis of traditional elements of musical language with innovations in compositional technique of the twentieth and twenty-first centuries; a tendency to theatricalize the dramaturgical concept of chamber works; rethinking of characteristic folk rhythmic intonations. These features are already manifested in the early First Quartet, which shows mastery of models of classical instrumental forms, youthful maximalism, and fascination with several aesthetic ideals: neo-folklorism, constructiveness of neoclassicism, and at the same time sensuality of late romanticism. The author notes the identification of individual style features: a tendency to active elaboration, semantic content of themes, allusions to historical/folklore prototypes, an even "distribution of roles" between all instruments, and a well-thought-out logic of dramatic development. It is concluded that V. Kaminsky's early quartet testified to the personal potential of the young composer, which was fruitfully realized in his subsequent chamber and instrumental opuses. Despite the unfavorable period of stagnation in the 1970s, which was unfavorable for creative experiments, the composer managed to find a parity between the traditional and the innovative, the classical and the modern, the universal and the national, demonstrating not only a confident mastery of a wide arsenal of technical means, but also his own aesthetic outlook and system of artistic priorities, which had already been formed by that time.