MYKHAYLO DRAY-KHMARA’S EPISTOLARY HERITAGE AS A SOURCE OF UKRAINIAN MUSICOLOGY

Abstract

This article continues the theme of the musicals of the poet and scholar of the Executed Renaissance Mykhailo Dray-Khmara (1889–1939) and is the result of the study of his epistolary heritage. It includes the Diary (1924–1928) and Letters from Exile to the Family (1935–1937), which were preserved during the searches of the 1930s and were taken abroad by the artist’s wife Nina Dlugopolska. Analysis of the above-mentioned documents proves that Dray-Khmara’s musical interests cover a vast and multifaceted space. Any musical phenomenon evoked an instant reaction in him – whether it was street musicians, or a professional orchestra, a liturgy or a Galagan nativity scene, musicals of a family unit or creative projects. The Diary and Letters reflect the evolution of the scientist in relation to musical phenomena; There is a gradual deepening of the view on musical events, more often immersion in the problems of Ukrainian music against the background of the all-consuming Bolshevik terror. Since the beginning of the twenties, Mykhailo Dray-Khmara was in the center of literary searches and discussions, defended classical culture and meaning in poetry. He communicated with “Kyiv neoclassicists”, taught at Kyiv universities, and worked in various commissions of the Ukrainian Academy of Sciences. A significant role in the life of the scientist was played by the Music and Drama Institute Lysenko with whose representatives the scientist maintained family or creative ties, and whose artistic events he regularly attended. Among the musical personalities with whom Dray-Khmara managed to communicate directly or indirectly, it is necessary to note the outstanding musicologists M. Grinchenko (relative) and D. Revutsky, composer M. Verikivsky, the Kolodub family and others.