Cyclic Forms in Anatolii Haidenko’s Creativity: Genre-Style Features

Abstract

The purpose of the article is to reveal the aesthetic, genre and style constants of Anatoly Haydenko's creative activity. The methodological basis is the basic principles of the theory of knowledge (objectivity, scientificity, historicism, integrity, interconnection and interdependence of phenomena and processes of reality); the main provisions of systemic, axiological, art history, competence, and cultural approaches as a methodological way of studying composer activity; conceptual provisions of the theory of professional compositional skill. The scientific novelty lies in the fact that, on the basis of the composer's personal statements, his aesthetic position regarding the purpose of art is highlighted; by analysing scale-compositional, technical-performance and genre-stylistic features, A. Haydenko’s narrative works are systematised. The intonation, textural, compositional, and dramaturgical features of the composer's music are revealed based on analytical observations of a number of opuses. The evolutionary trends and genre-intonation system in A. Haidenko’s accordion work are characterised. Conclusions. A. Haidenko's fairy tale concerts and sonatas demonstrate the composer's demonstrative interest in images of the distant past, the desire for a national certainty of sound, reliance on folklore sources, presented both in the form of quotations and intonation or harmonic elements assimilated in the author's text. Another trend in A. Haidenko's work was marked by the concerto for accordion with orchestra "Ecce homo!", which clearly shows the composer's desire to expand the figurative and stylistic horizons of music in the direction of the European coordinate system.

Key words: cyclical forms, genre-stylistic features, Ukrainian music, A. Haidenko’s creativity