The reflexive component of the chamber-vocal style of N. Lysenko
Background. The reflexive images in Ukrainian vocal music are typical for the mental “gene-code” of the national culture, starting from the genesis – folklore origins in the “duma” epos of the kobza players, and later in the poetry of Taras Shevchenko. Reflection as a method of musical generalization was formed in the chamber-vocal genre as a component of the national-song culture of Ukraine at the stage of its professionalization (the turn of the 90s of the 19th century). Studying and recreating the stylistic features of N. Lysenko’s reflexive lyrics in creative practice is an actual task for singers from China. The genre and psychological images of the “Kobzar” formed the basis for the musical interpretation of the pictures from life in Ukraine through the prism of the author’s poetic thought. The reflexive signs of the vocal composition have an intonation-dramatic nature: they are meditative intonation, monologue, Kobzar style (duma fret, narrative). External musical factors are caused by the influence of the poetic thinking of T. Shevchenko, the Ukrainian language and the song on the musical reflection. The super aim of the process of the entry of Ukrainian art into European and world space is the justification of the mental “core” of reflection as a part of the vocal creativity of domestic composers through the systematization of the established intonation-semantic complexes that were laid at the stage of historical and cultural genesis in the 19th century. Methodology. The method of the analysis of reflection as a type of musical semantics (from meditative intonation to mono-dramaturgy) is proposed in the monograph by L. Shapovalova. However, the Ukrainian national-style intonation is modelled in it only on the example of the choral works by Y. Alzhnev and is not through. The very rich layer of vocal reflexive lyrics was left behind a “frame.” Nowadays, this slayer falls into the repertoire of concert vocalists from China, who are studying Slavic song culture, contributing to the reappraisal of the perception of Lysenko’s heritage by contemporary singers. Objectives. The object of research is reflection in vocal art; its subject – the embodiment of reflective images in the works of M. Lysenko on the example of “The Music to the «Kobzar»”. Results. The choice of the timbre of male and female voices illustrates the musical vision of the Shevchenko heroes: soprano (the songs of a young girl in captivity, playful “Made the Path”); the fate of the poet (“The Days Are Gone”, “The Fate”), reflections on the native land, the beauty of nature, the broad steppe, rivers and ridges (“Above the Dnieper Saga”, “The Wide Dnieper Roars and Groves”). By a large scale, all samples of the Lysenko interpretation of the “Kobzar” can be divided into two groups: male and female (since this is an important criterion for the repertoire for vocalists). Men’s archetypes (the Cossack, the young farm worker) are combined due to the image of the Poet (which is equal to the Author, the subject of reflection); the women’s – they witness the tragedy of an enslaved, unlucky soul who suffers without love and seeking advice from God. Together, male and female images depict the Ukrainian picture of the world of the “Kobzar”. The mental “core” of the Ukrainian people as a manifestation of self-identification is made up of religious motives associated with the Christian faith. Typical are the motives of a prayer, repentance, gravity for renewal, enlightenment of the soul. The attention of the composer to the universality of the creative method of Shevchenko led to a reflection of the wide-range picture of the existence of Ukrainian society in the richness of the figurative genre spectrum – from folk every day and humorous scenes (“The Garden of the Cherry by the House”) to the image of the Poet (I) and contemplative lyrics reflecting the attitude of the hero to nature, love, people and God. In general, the genre’s peculiarity and multidimensionality of vocal works by V. Lysenko forms the “intonation vocabulary” of the Ukrainian musical language (according to O. Kozarenko), Conclusion. On the example of the vocal miniature “Why It’s Hard for Me” by M. Lysenko on verses by T. Shevchenko, the foreign singer must recreate the “inner form” of musical and poetic reflection, evident through the melo-declamation. Performances of song and speech nature are closely intertwined, forming intonation semantics of the author’s reflection. Its sing is poetic factors (confession, statements from the first person), established meditative intonations: seconds, thirds, jumping on the fifths and sevenths and the elegiac complex (intones of sadness, mourning, minor fret). However, the musical reflection of the composer was influenced by the Ukrainian folk song (melodic, duma mode, sub-voice texture) and the knowledge of European professional education developed by him in Leipzig. The role of poetry reflections of T. Shevchenko, and, accordingly, the specifics of musical embodiment of M. Lysenko were revealed on the example of the expanded compositions of the vocal composition by M. Lysenko “The Nights Are Passing, Passing by”. The researchers have identified this content as a civic lyric, but we insist on defining this composition as an example of a spiritual reflection. This conclusion allows us to attribute the works by the outstanding composer not only to the Biedermeier of the 19th century (amateur, salon art). The semantic complex of the work reveals the essence of the melos, in order to create the image of the Poet – one of the cross-cutting Shevchenko archetypes. In this sense, the composer’s creativity represents the highest level of Divine Services.