CHAMBER AND VOCAL WORKS BY OLENA ILNYTSKA: SEMANTIC ASPECTS

Abstract

The semantic features of chamber and vocal works by contemporary Ukrainian composer Olena Ilnytska are considered in the article. By applying contemporary techniques the composer changes not only the timbral palette of the voice and the instrument, but also the genre paradigms of vocal music. The purpose of the article is to highlight the semantic features of O. Ilnytska’s chamber and vocal works. The theoretical, interpretive, comparative, complex methods, and the method of generalization comprise the methodology of the research. Their combination enables achieving the aim of the article. Scientific novelty. The chamber and vocal works by O. Ilnytska in the semantic context is analyzed for the first time. Conclusions. O. Ilnytska carefully selects poetry for her vocal works. The composer prefers canonical texts and poetry by V. Stus. In spiritual songs, the author continues the traditions of Orthodox and Catholic liturgical singing.The combination of chanting, melismatics, and recitation with contemporary techniques enhances the inner expression of the canonical text. A characteristic feature of chamber and vocal works is the deepening of the semantics of the poetry in an ontological context. The composer reflects despair and devastation, despondency. The composer combines various techniques. The singing, whisper, recitation, exhalations, individual consonants, foreshlags, and glissando arecombined in the vocal. The playing on the keyboard and stringsare combined on the piano. The sul tasto, sul ponticello, glissando, pizzicato, ricochet, vibrato, tremolo are combined on the cello. In every technique, the composer vividly demonstrates a deep understanding of the poetic word. The listener finds philosophical and existential meanings in her works.