SOURCES AND INTONATION COMPOSITE STRUCTURE «PASSION ANTIPHONS» OF ОLEXANDER KOZARENKO

Abstract

The topic of particular person attitude towards mystery of death took an important place in world culture from the ancient senturies. This subject is one of the main theme in terms of formation of sacral ceremonies throughout the millennia from paganism times to Christianity. Therefore Christians also celebrate forgiveness of sins: it became possible through crucified and revived Jesus Christ’s sufferings. Week which precedes this event got the name of the Week or Holy Week. The religious service of Good Friday is distinguished by divine services of this period, where the cycle of the fifteen passionate antiphons are placed. It is chants which are devoted to the last hours of Christ Rescuer’s life. An importance of the cycle certifies its presence in a repertoire of Ukrainian stave irmologions of the 17th–18th centuries. The modern composer Olexander Kozarenko addressed to this biblical theme. He is the author of the oratorio "Passions of the Lord Our Jesus Christ" (ten antiphons of ostrog tunes for the reader, soloists, chorus, organ and a symphonic orchestra). Kozarenko uses initial texts and melodics of original monody chants of fifteen passionate antiphons which belong to one of the oldest Ukrainian irmologions – Lviv irmologion of the end of the 16th century. It is exclusive feature of the score. Using an original handwritten cycle of passions as a basis, Olexander approached creation of work according to own concept. It defined certain features of dramatic art of author’s work. In particular, the composer allocates not initial, but emotionally rich phrases of texts of antiphons. The author enters a number of the intonational and instrumental keynotes, allocates separate instrumental turns, organically connects sounding of chorus parts and a symphonic orchestra of the oratorio. And the most important line of author’s reading of monody passions is the maximum preservation of an authentic melodics. The example of interpretation of sacral monody in the cycle of passionate antiphons by Olexander Kozarenko testifies composer’s profound understanding the essence of these works and also is the expressive testimony of their relevance. Having addressed to such difficult and deeply sacral material, the composer managed to emphasize his melodious wealth and to emphasize theological depths of the poetic word. We are convinced that such through deepening in sources of an old sacral monody not only testifies to its internal potential, but also opens the new horizons before the future of the Ukrainian musical culture. In a world culture from the oldest times a theme which during millenniums was basis of forming of sacred ceremonies, theme maintenance of which from times of paganism to christianity contacted with the special attitude toward the mystery of death, was selected, that always flustered a man. Therefore and do Christians celebrate liberation of man through the large, rescued rank of embodiment and rosining Christ. Week which is preceded this event got the name of the Large or passion week. Between divine services of this period service of Large Friday and cycle placed in it exudes to 15 passion-antibackgrounds — motets, what tells about the last o’clock of life of Rescuer. Meaningfulness of cycle is certified by their being in the repertoire of Ukrainian musical-linears irmologions of 17th–18th centuries. A modern composer Oleksandr Kozarenko, which wrote the oratorio of «Passion of Lord our Jesus Christ, appealed to this theme» (10 antibackgrounds of tunes ostrog’s for a reader, soloists, choir, organ and symphonic orchestra). The exceptional feature of this work is the use of canonical texts and melodic of original monomilch motets to 15 passion antibackgrounds, that are in one of oldest Ukrainian irmologions – in Lviv irmologion of end of the 16th century. Using the original handwritten cycle of passions as, Oleksandr walked up to creation of work in obedience to own conception that defined basis certain features of dramaturgy of author work. In particular, a composer selects not initial, but the emotionally saturated phrases of texts of antibackgrounds, enters the row of intonation and instrumental leitmotifs, selects separate instrumental numbers also, and also organically links sounding of choral parties and symphonic orchestra. oratorios. And the major line of the author reading of monomilch passions is a maximal maintenance of authentic melodic. Interpretation of sacred monophony by Oleksandr Kozarenko on the example of cycle of passion antibackgrounds testifies to the deep understanding of essence of these works, and also by the expressive certificate of their actuality. Appealing to such difficult and deep sacred material, a composer managed to underline him melodious riches and to underline the theological depths of poetic word. Make sure, what the through deepening in the sources of old sacred monophony not only testifies to its internal potential but also exposes new horizons before the future of the Ukrainian musical culture.