MUSICAL LANGUAGE AND TIMBRE-СOMPOSITIONAL DRAMATURGY OF LESIA DYCHKO’S CYCLE "THREE MINIATURES" TO THE WORDS BY TARAS SHEVCHENKO

Abstract

The article presents a comprehensive musicological analysis of Lesia Dychko’s chamber-choral cycle Three Miniatures to the words by Taras Shevchenko (“Oy strichechka do strichechky”, “Oy mayu, mayu ya ochenyata”, “Utoptala stezhechku cherez yar”). The study investigates the specific aspects of embodying the Kobzar’s poetic word through the system of modern vocalchoral and instrumental writing. The scientific novelty of the work is substantiated, consisting in the first systematic illumination of the modal-harmonic and textural organization, sonoristic means, and timbre-compositional dramaturgy of the specified anniversary opus. It is established that the cornerstone compositional principle of the cycle is a gradational shift in the performing ensemble, which forms an integral dramaturgical arc: from pure academic a cappella choral singing (Part I), through an intimate, confessional solo monologue for mezzosoprano (Part II), to a refined synthesis of vocal solo, instrumental solo flute/sopilka, and mixed choir (Part III). The specifics of an innovative synthesis of folklore sources with 20th–21st century compositional techniques are revealed, including the use of sonoristic clusters, ramified dichordtrichord melodic formulas (pospivky), arpeggiated exclamations (“huks”), major-minor mutations, chords with added tones, and elements of folk modes (Lydian, Dorian, Mixolydian). It is proven that timbre-executorial differentiation serves as the main factor in unfolding the figurative and philosophical foundation of Shevchenko’s poems–from recreating maiden lacework and the anticipation of a holiday to the tragic awareness of loneliness and the final lifeaffirming folk-dance outburst. A deep interconnection between the figurative and philosophical background of Shevchenko’s poems and their musical-intonational embodiment is revealed, encompassing a spectrum from broad cantilena and recitative patter to a sonoristic background, organ point, and vocal-instrumental timbre dialogue.