Review and characteristics of V. Kosenko's piano works of the Zhytomyr period of the master's work

Abstract

Objective. The piano works of V. Kosenko within the Zhytomyr period of the master 's work are described in the article. Substantiated that the artist's attention was attracted by various spheres of human life and activities: political and civic pathos, labour romance, spiritual world of the contemporary. The research methodology is presented by application of the historical and logical method of data analysis in order to reveal the retrospective data set of the repertoire of V. Kosenko's work as a performer within the Zhytomyr period. Scientific novelty. The work of the chamber trio (Kosenko – Skorokhod – Kolomoytsev) was evaluated. Works written by V. Kosenko during the Zhytomyr period of activities are analyzed. It is established that at the end of the Zhytomyr creativity period serious changes in the intonation sphere of V. Kosenko’s music are noticeable, in particular he increasingly turns to folk sources. The composer managed to leave his unique mark in the development of almost all forms of Ukrainian musical culture. It is proved that the instrumental works of V. Kosenko's great form, created during the heyday of his work, are represented by autographs of such symphonic works as the Heroic Overture for Grand Symphony Orchestra op. 21, which was included in the golden fund of Ukrainian music, and the Symphonic poem on Moldavian themes op. 26; concerts for solo instruments with orchestra: autographs of L. M. Revutsky and G. I. Maiboroda c-moll concerto for piano and orchestra op. 23, who orchestrated it on Kosenko's piano; piano and drafts of the score of the concerto cis-moll op. 21 and B-dur concerto for piano and orchestra, a-moll concerto for violin and orchestra op. 6 edited by G. I. Maiboroda. Conclusions. It is established on the basis of significant facts that V. Kosenko's music within the Zhytomyr period of creativity was marked by a new genre orientation. Since the late 20's chamber instrumental and vocal creativity has given way to mass genres of music (song-choir, solo songs on current civic themes, march songs for brass band, choirs, harmonization and arrangement of folk songs, children's repertoire for performance in music schools and, finally, orchestral works). Such changes were almost, certainly, were caused by the need for a direct "conversation" of the composer with a new audience.