STYLISH FEATURES OF PARALITURGICAL WORKS OF DIFFICULT FORMS OF BORIS KUDRIK

Abstract

The article is reflected obscure information from biography of composer Boris Kudrik. The list of his works of

spiritual subject is given and stratification of paraliturgical genres in the inheritance is carried out. In particular, author of publication to the first group takes the works of small form (novovasil'yanski songs, hymns and other church songs), and to the second works of large form (edging, psal'ms, motets).

It is investigated the melodic of five choral works of large form of B. Kudrik, in particular "Ruslan’s Psal'ms by             M. Shashkevich: 1. Large is God" on the mixed choir, written to the concert program in honour of century of almanac "Rusalka Dnistrova"; motet "Children praise the God: Psalm 112" for masculine choir, written in honour to 150-years-old anniversary of foundation the greco-catholic spiritual academy in Lviv; the motet of "Blazhen husband" on the words of Taras Shevchenko "From "David’s Psalms"" and songs- hymn "At the rustle of banners and lent" on the words of Ulyan Kravchenko, written on the mixed choir a capella; the edging of Pochaiv of ХVII century "Pastors Pastured" for the mixed choir.

At the detailed consideration of stilistic each of them, the author of the article is marked, that "Ruslan’s Psal'ms"

is widely unfolded work of type of cantata, which consists of four parts-constructions, written like an age-old suite (slowlyquickly-slowly quickker) and incorporated in the unique unit by rate and texture contrasts. Appeal attention to the harmonic plan of work, the display of the secession breathings and natural combination by the composer of keys first, second and third degrees cognation are marked. It is underlined the flexibility of melody, prevailing the musical text above verbal.

It is investigated, that motet for masculine choir a capella "Children praise the God: Psalm 112" of B. Kudrik is

written in the polifakturate suite form, which can be divided into five contrasting constructions, which is parted between itself by the rate denotations. Texture changes are considered in detail. In motion of overhead voices in terzi and sexton spaces is noticed stilistic of kant traditions. It is marked, that the author of motet combines classic harmony with striking manifestation of secession in comparison of system-tonal colors and partly chords.

It is analysed the stilistic of motet "Blazhen husband", which consists of two contrasting constructions and completion, in which the thematic development are formed the basis of new texture material. It is marked, that in this work B. Kudrik uses sound relief in a score, prevailing of linear development of melody, combination of tonic-dominant harmonic structure with casual consonances, which the author of publication is considered as an original innovation in the system-tonal language of paraliturgical works of the first third of ХХth century.

It is marked, that for the song-hymn of eulogistic content "At the rustle of banners and lent (988-1938)" peculiar

difficult three-part form, classic harmonic features with the display of manifestation of secession trends. All aspects of melodious and rhythmic development are reflected. It is indicated, that the discreteness of musical material of work is provided by the change of size in every part, and also by compaction or dilution of invoice.

It is analysed the edging of Pochaiv of ХVII century "Pastors Pastured" for the mixed choir in processing B. Kudrik. It is marked, that couplet-variation form with the bright lines of solo-refrain, invoice of the mixed type, kant’s

stilistic of exposition are characterized the work.

The author of publication is reflected the period of writing and the first time of execution each of the given works.

It is marked, that the address to the motet and cantata genres in the creation of composer were occasional, timed to

special events of cultural-art or church life of edge.

The musical features of paralyturgic works of difficult forms of B. Kudrik are generalized. It is marked, that it is

inherent in the combination of elevated, solemn prayerful of mood with lyric of musical expression; contrasting

comparison of parts (constructions); song and instrumental types of melodic; rounding and smooth melodious phrases; multiple meters; combination of two types of invoice (mainly homophonic-harmonic with polyphonic (fugue, fugato)); freedom voicings in the transaction of voices. It is marked, that harmony presents classic European system of minormazhor with striking manifestations of intenciy of secession stilistic (in particular using of aktsydentsis, use the tonalities of second and third degree relatives). Laarni way melodic material contributes to the formation of difficult, not always functional certain harmonious combinations.

Comparing stilistic of paralyturgical works of difficult forms of B. Kudrik with analogical compositions of                      І. Bilykovskuy ("Prayer"), Y. Kyshakevich ("Be glad mother", "Cantata in Honour of Excellency of Metropolitan Кir Andrey"), the author of the article conducted surveillance, that calendar time of their writing in the retrospective analysis provides an opportunity to build the pyramid of the gradual complexity of musical fabric, its evolution from classic simplicity to the secession manifestations. That’s why, its investigated, that in the cantata "Be glad mother" of Y. Kyshakevich (1903) classical fundamentals of shaping and system-harmonic language are strongly pronounced. "Prayer" of І. Bilykovskuy (1907) shows the display of brave antiphone choral exposition in combination with four voices chord, imitation development of musical tematism with the lines of under voices and post-romantic breathing in harmonic language. It is marked, that "Cantata in Honour Them Еkseletion of Metropolitan Кir Andrey" Y. Kishakevich (1919-1925) presents romantic of melodious material, emancipation of chords of subdominant group, in place of usual tonik-dominant comparison, emotionally and rate contrast of parts. It is indicated, that B. Kudrik, writing his works in the thirtieth years of XXth centuries, presents not simply continuation of previous stylistic traditions, but also inserts new secession manifestations in the harmonic language of compositions, instrumentalizes melody, complicates a rhythmic side. His choral works peculiar stroke riches and mix of texture exposition.