THE SUBJECT OF “SEASONS” IN THE MODERN INSTRUMENTAL AND ENSEMBLE WORK OF COMPOSERS OF UKRAINE AND CHINA

Abstract

The works for the piano ensemble of Chinese and Ukrainian female composers are considered in the proposed investigation in the context of reflecting the concept of “seasons” in them as a general theme of nature, as well as the aspects of gender specificity of the composer’s work, and the peculiarities of performing interpretations. Among the most significant works of female composers of the 21st century an analysis of the suite for two pianos by the Chinese composer Liu Sola “Winter and Spring” and the Ukrainian representative of the Lviv composer school Veronika Mishenina’s piano cycle “Piano Preludes “Twelve Months” is proposed. The purpose of the article is to systematize the existing repertoire and analyze its specificity in the compositional and performing creative work in Ukraine and China. The scientific novelty of the study is related to the fact that for the first time the theme of “seasons” as a concept of nature became the object of research analysis of works for piano ensemble. Conclusions. When analyzing the chamberinstrumental works of composers of Ukraine and China on the subject of eulogizing the seasons, in particular ensemble piano works, common features of penetration of elements of form-creating, tonal-harmonic, timbral and rhythmic systems of sound imagery as a type of programme music were observed. In the conditions of globalization of musical art and particularly active strengthening of intercultural contacts of musicians-performers and composers – at the beginning of the 21st century, the penetration of genre and stylistic features of music of the 20th century into academic Ukrainian and Chinese musical creative work was observed. This concerns the development of polyphonization techniques in works, the use of avant-garde means of musical expressiveness, in particular modernism. It was noted that in search for new artistic means of expression, Chinese composers apprehended the style of modernism very organically, although in the beginning, they interpreted it in the literal etymological sense as “domination of fashion”, as the acceptance of new artistic styles. But when in practice they began to turn to avant-garde techniques (pointillism, sonoristics, etc.), they mastered very quickly the methods of modern reproduction of creative ideas. From the point of view of stylistics of the 21st century, ensemble piano works by Ukrainian and Chinese female composers are united by a common feature: inclination to eclecticism as a combination of various stylistic elements.