Love archetype in the romances by diaspore composer Ihor Sonevytskyi

Abstract

The purpose of the article is to find and analyze the specificity of an embodiment of the archetype of Love in a cycle “The Green Gospel” for a soprano singer with piano accompaniment on verses of B.-I. Antonych. The methodology of the study is governed by the nature of the investigated issue and consists in the use of the total number of methods – historical, theoretical, textual, descriptive and analytical, comparative and traditionally musicological that allows finding the specificity of an embodiment of the archetype of Love in the analyzed cycle. The scientific novelty is determined by the aspect of the declared subject, its topicality, and place in the structure of musicological and performance processes. The problematic issue is studied for the first time from the perspective of substantiation of the essence of the archetype of Love through the prism of chamber vocal creative work of I. Sonevytskyi, a composer of the present time. Conclusions. The archetype of Love as a particular outlook inherent in Ukrainians is laid in solo singing songs in the form of verses filled with “vivid” breath of Lemkos nature portrayed poetically by the composer as a primarily religious phenomenon. The archetype of Love is embodied by a specifically sensitive musical imagery that conveys gentle pastoral and elegiac post-romantic sounding with colorful tonal and harmonious impressionistic forms. A threat, landscape, and lyrical vignettes, which gradually develop the topic of wedding, arise. The composer creates his own, individual way of interpreting the archetype.