AESTHETIC AND STYLISTIC PRINCIPLES OF PERFORMANCE OF THE MYROSLAV ANTONOVYCH’S BYZANTINE CHOIR FROM THE POINT OF VIEW OF THE HISTORICALLY ORIENTATED DIRECTION

Abstract

In the second half of the 20th century in Europe, the movement of performing, which has received the definition of «historically orientated performance» – the direction in the musical performance, which aims to bring the sound to the corresponding historical prototype as close as possible, is gaining popularity. The main features that give the right to attribute the perfor-ming to the historically oriented direction is the performance of the work of art in a not characteristic for it historical period, studying music in order to determine the elements of performance inherent in the corresponding historical period, the specification of these elements, and an attempt to bring the execution as close as possible to «historical sound ideal» through the reproduction of these elements, which should lead in the final result to a holistic historically reliable execution as a complex of components determined in the research and analysis process. It is believed that the performance of ancient music by Ukrainian choruses, or attempts to reproduce their lost traditions, is a phenomenon that stands aside from the movement of historically oriented performances. In our opinion, if the tradition existed, but was interrupted, and after some time this music started to be performed in another historical period by perfor-mers who are not carriers of this tradition, but are studying it according to certain sources, and the music is performed for a completely different audience, in other circumstances and external conditions, – then such an execution is more historically oriented, than traditional. In the postwar period, Antonovich lived and worked in Europe, where the choral group created by him performed its activity. The Byzantine choir's activities were not limited to the Netherlands; the choir often toured Europe, and was well known far beyond the borders of the Netherlands. It was not only the Dutch but the European collective, therefore, in our opinion; it is quite possible to consider its activities in the context of European performance. Antonovich and his team tried to preserve, revive, «reconstruct» the two main traditions of Ukrainian liturgical singing, which existed in Ukraine at the end of 19th – the first half of 20th century – Kyiv's liturgical tradition of singing, which originates from the Kiev school of Ukrainian Baroque singing, and the Galician liturgical tradition of choral singing of the second half of 19th – first half of 20th century. The performing of the Byzantine choir can be considered in the context of the movement of historically oriented performing, given that the choir performs works from other historical periods; attempts are being made to recreate lost traditions of singing; the work of the works is preceded by research work; in addition, the important role and the fact that traditions have been mastered by the conductor in the historically appropriate conditions for them, which is a rather rare phenomenon, – plays an important role and increases the value of such work for future generations; the work is performed not by the bearers of tradition, but by the executors who master it through theoretical explanations and practical lessons; the target theoretical and practical training of the team is conducted, including conditions of execution, premises, etc., which are characteristic features of historically oriented performing.