VIRTUOSO CONCERT MINIATURE IN CHORAL ARTWORK BY MYKOLA DYLETSKY

Abstract

Artwork of famous Ukrainian composer of the second half of 17th century, Mykola Dyletsky, belongs to the field of church music. Dyletsky composed his own partesny concerts for a big choral compositions and for selected singing groups. After publication of the Voskresensʹkyy canon (1976) and a separate collection of Dyletsky’s works (1981), researchers discovered a large number of new partesny compositions. By volume, they significantly exceeded all previously known works. Newly discovered partesny concerts and works of other genres reveal to us an unknown Dyletsky. We have learnt that he wrote his works for various singing groups and in a different style – both simplified and complicated. This universatility can be explained by conditions of creative work and work with singers of different levels of training. Dyletsky spent part of his life in the multi-confessional Kyivan Metropolitanate, in particular in the capital of the Grand Duchy of Lithuania, the city of Vilna. Thin and then moved to the capital of the mono-confessional Moscowan kingdom. Moving from one state to another has affected the creative process. Various editions of Church Slavonic texts that had a life on the territory of the Kyivan Metropolitanate and the Moscow Patriarchate after the church reform of Patriarch Nikon (50s of the 17th century) were included in the work. Significantly different levels of training of singers, so for Moscow churches Dyletsky wrote simpler works than those intended for the Vilna metropolitan choir. Samples of the genre of virtuoso concert miniatures were revealed in the middle of newly discovered four-voice concerts of Dyletsky written for various singing compositions. Choral scores were restored on the basis of the Lviv partesny manuscript and other handwritten sources of the turn of the 17th and 18th centuries. Detected works with features of virtuoso concert miniatures, written for the same type of singing composition – two sopranos and two basses. The signs of virtuoso concert miniatures are performing complexities. There are all sorts of textual, dashed, articulation, dynamic and tempo methods of the material presentation, with an emphasis on performing virtuosity and performance at an accelerated pace. The peculiarities of the text editorial staff have confirmed that these works were written before the moving of Dyletsky to Moscow State and intended for a highly professional Vilna metropolitan choir.