MODERN HORIZONS OF THE MUSICAL WORLD OF BORYS LYATOSHYNSKY

Abstract

The figure of B. Lyatoshynsky is considered in the context of changing horizons of national culture of the early twentieth century. The typology of the composer's language code is analyzed through the prism of mythological, symbolic and archetypal modes of existence. It is noted that Lyatoshynsky's work is a renewal of the process of development of Lysenko's model of the national canon in the new conditions of modernism. The composer's work states the existence of both written and oral forms of language code, as well as determines the principles of their interaction. It is claimed that in his early work B. Lyatoshynsky relied mainly on the written form of the code, but later he used and modeled the most characteristic features of the oral code. In this context the Third symphony of the master in which switching from the sphere of objective to subjective and the connected change of forms of the language code are shown quite accurately is considered. An example of such interaction of codes is the introductory section of the first part of the work, which is based on two themes. One of these themes has a written nature, and the other is a rethinking of the folk song image. It is noted that the subjective, psychological in this symphony Lyatoshynsky presents precisely through the activation of the elements of the oral code. This proves once again that the concept of "national" in the work of the master is not distinguished from the intellectual, because the latter is embodied in it through both forms of code. It is argued that the epic of the master is mainly associated with the categories of past and future, while the dramatic is experienced from the standpoint of the present.