“STABAT MATER” BY OLENA ILNYTSKA IN THE CONTEXT OF THE COMPOSER’S GENRE AND STYLISTIC EXPLORATIONS

Abstract

The genre and stylistic features in the chamber and vocal work “Stabat Mater” by Olena Ilnytska is considered in the article. It has been established that in this work, the composer used techniques of her own style: recitative, brumendo, glissando in the soprano part, and playing with clamp the strings of the piano. The purpose of the article is to highlight the genre and stylistic features of “Stabat Mater”, 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. Scientific novelty. The chamber and vocal work “Stabat Mater” for mezzo-soprano, oboe and piano by O. Ilnytska in the context of the composer’s genre and stylistic explorations is analysed for the first time. Conclusions. O. Ilnytska uses symbols in “Stabat Mater”: lamenting descending intonations; rhetorical figures of katabasis, anabasis, and the cross; ostinato motifs of hammering nails. Examples of non-traditional performance techniques (recitative, brumendo, vocalise, glissando) intensify the inexpressible pain of the Mother of God. The recitation of the first lexemes of the first and second sections emphasise the structure of the work. These performance techniques, as well as playing with clamp the strings of the piano, are present in other works by the composer. They testify to the commonality of stylistic features. The author emphasises important lexemes with extended performance techniques. These are short ostinato motifs with clamp the strings of the piano and microchromatics in the soprano part. The discreteness of musical time expresses difficult emotional states. The path to the Light gives an ontological optimism of her works.