MUSICAL INTERPRETATION OF TARAS SHEVCHENKO’S POETRY IN BOHDAN KRYVOPUST’S SYMPHONY-DIPTYCH

Abstract

The musical interpretation of Taras Shevchenko’s poetry in in the Symphony-Diptych by contemporary Ukrainian composer Bohdan Kryvopust is considered in the article. It has been established that the national idea is the fundamental principle of both artists. The purpose of the article is to highlight the semantic features of B. Kryvopust’s Symphony-Diptych, to reveal the interaction between the poetic and musical texts and their deeper meanings. The textological, structural-analytical, comparative, and interpretative approaches comprise the methodology of the research. Their combination enables achieving the aim of the article. The Symphony-Diptych by B. Kryvopust’s in the context of the realisation of T. Shevchenko’s poetic text is analyzed for the first time. Conclusions. The composer carefully selects poetry for his choral works. The national idea is a common foundation in the work of both artists. The Diptych embodies the idea of spiritual purification and resurrection of Ukraine after its destruction. This concept makes the work coherent in terms of composition and performance. In both parts, the author uses musical means that clearly convey the semantics of the artistic image. Thus, the semantics of destruction are marked by rapid durations and tempo, accentuated articulation, and ostinato verticals. The semantics of the dream of rebirth are marked by smooth sound conduction, the predominance of the horizontal over the vertical, and an imitative texture has an echo effect. Soft, meditative sonority immerses the listener in a transcendent state, creating an image of a blossoming country. The change from singing to speaking emphasises the semantic climax of the second part and the entire cycle. In every technique of the score, the composer demonstrates a deep understanding of the poet’s prophetic words, forcing the listener to find philosophical and existential meanings in his works.