The significance of the zhytomyr period of V. Kosenko’s creative work for the whole master’s creative path

Abstract

The article analyses the role and significance of the Zhytomyr period of V. Kosenko’s activity for the whole composer’s creative path. The research objective is to outline the general features of the significance of the Zhytomyr period of V. Kosenko’s creative work for the whole master’s creative path. The master’s performing and creative activity during the 1920’s is considered. The author studied the Cello and Piano Sonata, created in 1923. Peculiarities of V. Kosenko’s author’s concerts are revealed. The significance of the composer’s work for Ukrainian piano music is studied. It was found that V. Kosenko’s piano works are rich in many different pianistic techniques. The research methodology involves the application of the historico-logical method. This methodological approach allows revealing and analysing the origin and formation of Ukrainian Soviet musical culture of the 1920’s. The scientific novelty of the work is to establish that Kosenko’s romances are perfect in form and texture, easy to understand, are melodious, marked by emotionally excited character. V. Kosenko’s concert and propaganda activity deserves special attention, as its focus was conditioned by the tasks set before the intelligentsia of that time related to radical transformations in the field of education and culture (to help different segments of the population to acquire knowledge, understand the values of literature and art). Conclusions. The article notes that it was during the Zhytomyr period of creativity (during 1918-1929) that the talent of V. Kosenko as a performer-pianist and composer-lyricist was formed. It is proved that in a difficult period V. Kosenko created highly artistic pieces of chamber vocal and instrumental music, a number of songs, choirs and solo songs, as well as several symphonic works, which testified to the composer’s high professionalism, the democratic focus of his music, and received wide public recognition. It was found out that in the years of origin and formation of Ukrainian music of the Soviet period V. Kosenko did not set himself cardinal tasks of the formation of the national musical language, the search for new means of expression. Instead, he was very active in defending the classical style, actively implementing its forms and methods. The composer constantly sought to raise national art to high professionalism, to the top of world classics.