SUITES FOR BANDURA IN THE WORKS OF MYKOLA DREMLIUGA

Abstract

The article provides a detailed analysis of three suites for solo bandura by Mykola Dremliuga – a significant part of his instrumental output that represents one of the key directions in the development of Ukrainian music in the second half of the 20th century. The characteristic features of the composer’s style are identified, particularly the organic fusion of folk intonations with elements of European academic principles of form-building, which gives his works a national sound harmoniously combined with classical canons and individual stylistics. A comprehensive analysis of the presented suites has been carried out, along with an outline of the genre and stylistic specifics of each cycle: A comprehensive analysis of the presented suites has been carried out, along with an outline of the genre and stylistic specifics of each cycle: the First Suite is marked by neo-folk expression, vivid imagery contrasts, a couplet-variation form, and dramaturgical symmetry; the Second Suite by its genre diversity – a combination of rondo, duma, shchedrivka, theme with variations, and a virtuosic finale that creates a plot-rich cycle colored with folk song and dance elements; the Third Suite is stylized after Baroque forms (preludes, fugues, passacaglia, humoresque), which allows us to speak of the manifestations of neo-stylistics and Baroque aesthetics in a modern authorial interpretation.Within this study, a thorough analysis has been conducted of the structure, themes, modal-harmonic language, rhythm, form-building principles, textural content, and compositional techniques used. Trends such as cyclic structure, thematic variation, complex metric-rhythmic organization, expressive textural thinking, and partial rejection of through thematicism are also identified.This article highlights the important role of Mykola Dremliuga’s three suites for bandura in the formation of the academic bandura repertoire.Mykola Dremliuga’s compositional thinking is distinguished by stylistic flexibility, virtuosic command of the bandura’s instrumental capabilities, and a modern reinterpretation of Ukrainian tradition, which secures his legacy a significant place in the history of 20th-century Ukrainian instrumental music.