Iryna Kokhanyk BETWEEN POLYSTYLISTICS AND METASTYLE: ABOUT STYLISTIC SEARCHES OF UKRAINIAN COMPOSERS AT THE TURN OF ХХ-ХХІ CENTURIES

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1 МУЗИКОЗНАВСТВО У ДІАЛОЗІ MUSIKWISSENSCHAFT IM DIALOG Ута Шмидт. Реакция Шостаковича на парадокс социалистического реализма ирония как ответ? Проблематика функциональной привязанности музыки редко проявлялась так четко, как во времена социалистического реализма при Сталинском режиме. Его частично парадоксальные требования к искусству понятность, народность и верность партии с одной стороны, индивидуальность и оригинальность с другой были подробно освещены в исторической и музыковедческой литературе. Эта статья концентрируется на музыкальной реакции Дмитрия Шостаковича, как композитора, творчество которого больше чем у других связано с социалистическим реализмом. Но где в его музыке находится так называемая граница между вынужденным приспособлением и скрытой критикой? В какой мере музыка Шостаковича в её многозначности остается открытой для многообразных толкований, и к тому же, возможно, недвусмысленна по языку? На фоне этих вопросов статья посвящена спорному феномену музыкальной иронии. В этой связи предлагается обсудить, является ли ироническая интерпретация музыки Шостаковича действительно ложной, или всё-таки при каких условиях, возможно, её обоснование. Uta Schmidt. Die Reaktion Schostakowitschs auf das Paradox des Sozialistischen Realismus Ironie als Antwort? Die Problematik der Funktionsgebundenheit von Musik war selten so offensichtlich wie zur Zeit des Sozialistischen Realismus unter dem Regime Stalins. Dessen teils paradoxe Forderungen an die Kunst Verständlichkeit, Volksnähe und Parteilinientreue einerseits, Individualität und Originalität andererseits sind sowohl in historischer als auch in musikwissenschaftlicher Literatur ausführlich untersucht worden. Dieses Referat konzentriert sich auf die musikalische Reaktion Dmitri Schostakowitschs, als jenes Komponisten, dessen Werk ebenfalls paradoxerweise mit dem Sozialistischen Realismus verbunden zu sein scheint wie kein anderes. Wo aber liegt in seiner Musik die so genannte Grenze zwischen erzwungener Anpassung und versteckter Kritik? Inwiefern ist die Musik Schostakowitschs in ihrer Mehrdeutigkeit offen für viele Interpretationen und dabei möglicherweise doch eindeutig in ihrer Sprache? Vor dem Hintergrund dieser Fragestellungen befasst sich das Referat mit dem umstrittenen Phänomen musikalischer Ironie. In diesem Zusammenhang soll diskutiert werden, ob eine ironische Interpretation der Musik Schostakowitschs tatsächlich so abwegig ist bzw. unter welchen Voraussetzungen sie sich doch begründen lässt. Iryna Kokhanyk BETWEEN POLYSTYLISTICS AND METASTYLE: ABOUT STYLISTIC SEARCHES OF UKRAINIAN COMPOSERS AT THE TURN OF ХХ-ХХІ CENTURIES The present study deals with building up style in modern composer oeuvre. As we know, here there are stylistic trends of different vectors which have centripetal and centrifugal focuses. One of them is heuristic focus connected with active innovation, renewal of the entire system of musical thinking. Within

2 СВІТОВА ТА ВІТЧИЗНЯНА МУЗИЧНА КУЛЬТУРА: NATIONALE UND INTERNATIONALE MUSIKKULTUR: СТИЛІ, ШКОЛИ, ПЕРСОНАЛІЇ STILE, KULTUREN, PERSÖNLICHKEITEN traditional frames it leads to bright stylistic decisions (at the level of individual style or even a particular piece of work). According to V. Rozhnovsky, sharp breake away from the tradition leads to «panpluralism, where there is no center or periphery» [7, p. 22], that at the end has created the concept of style outside of individual. Another trend integrative is marked with a search of new synthesis, new stylistic integration. It relies on profound knowledge of cultural experience, where the essence and ways of the whole building process of style are determined by cultural memory. Mechanisms of stylistic interactions have dialogic nature, and ranging from dialogue to polylogue. Consequently at the turn of the centuries the music art is dominated by a number of various stylistic phenomena, which have got the following names in literature: polystylism, polystylistics, monostyle, postmodern «end of style» and others. Specifics of the modern style-building is that all the above mentioned phenomena are ambigues in their essence, sometimes multi-leveled, but most importantly, they are bound by have non-linear dependence. According to N. Gerasimova-Persidska, the first decade of the new century showed the following: «All that was perceived at the end of the ХХ cent. as pluralism, mixture of styles, ideas, and hypotheses, is now starting to obtain an orderly mode, showing the signs of a paradigm. New paradigms, in comparison with the previous ones, act as an integrating system of a higher level» [3, p. 3]. Dialogue between a man and a culture is conducted as a truly creative act, as esthetic mastering of various information, which fills in the space of broad artistic perception. And this dialogue can be possible if the personality keeps their completeness which is reflected in style. The modern Ukrainian music shows the examples of such dialogue, being engaged into general music and artistic processes. Certainly this short presentation does not mean to cover and analyse all of these processes. What I want to to do here is: through particular analytical projections to see some characteristic features which determine style-building in the Ukrainian music at the turn of the centuries in the pieces of work of the brightest representatives of the modern Ukrainian composer school such as V. Silvestrov, Е. Stankovych, М. Skoryk. The discussion focuses on three most significant figures, so called three pillars, «three «S»» of the modern Ukrainian Olympus Myroslav Skoryk, Eugene Stankovych and Valentin Silvestrov. Having gone through a difficult formation period, including avant-garde searches typical for the ХХth century, today they have reached the level of creative maturity, when they can be truly called the classics of the modern Ukrainian music. Representativity of their art

3 МУЗИКОЗНАВСТВО У ДІАЛОЗІ MUSIKWISSENSCHAFT IM DIALOG can be interpreted as follows: belonging to one generation and composer school, public recognation both in Ukraine and abroad, work in virtually all leading music genres, use of ethnic traditions, brave innovations and bright individuality. Now they have formed an artistic model of style (to be followed by new generations), and still continue their artistic search. Intertextual relations, determining stylistic processes, are different in their nature, depth, scope of their components and amplitude of «cultural survey». Consequently, they have a different level of reflecton in specific music texts. According to M. Аranovsky, these intertextual relations can be the following: element «someone else s word» introduced in style as a structure outside the text, having a symbolic semantic function, composition and syntax concept of text (pastichio, work according to a model) allow to balance between the originale «own» and «someone else s» styles, as lexical composition of text (polystylistics) which is a synthesis of the two above mentioned functions taken to a new level, becoming a linguistic element of style whith a determinated meaning [1; 2]. The trend towards relieving contradictions between the quoted style and the auther s style can take different shapes: «subordination» of quotations or quasi-quotations to semantic or linguistic context (Stravinsky, Shostakovych, Schnitke); «dissolution» of individual style in the quoted material (Sylvestorov, Schnitke) [4, p.236]. Fluctuations of style-building in these frames pave the way to monostyle or its transformation into some kind of «beyond the time» metastyle. М. Skoryk is a modern type of a renessanse personality whis a strive for universalism. This allows him to comprehend phenomena and processes from the universal angle and to generalize his own live experirnce at the level of sophisticated intellectual and emotional «play». Skoryk s style is full of paradoxes. «The composer seems to try not only different stylistic trends, but also various social and cultural aspects, to «try on masks» of a modern artist, with the newest methods of expression, who targets the elite but at the same time tries to be an idol for young people, the author of hits sold everywhere, who thinks of himself as of a successor of a national line, rooted into traditions of national culture, and on top of that he sees himself as a refined of Prokofievtype classic, inheritor of the entire «Eidetic-history», who masters perfectly the composer s toolkit» [5, p.19]. Despite constant changes, there are some permanent features of his style: brevity, dramaturgic «laconism», clarity in form, tendency to bright

4 СВІТОВА ТА ВІТЧИЗНЯНА МУЗИЧНА КУЛЬТУРА: NATIONALE UND INTERNATIONALE MUSIKKULTUR: СТИЛІ, ШКОЛИ, ПЕРСОНАЛІЇ STILE, KULTUREN, PERSÖNLICHKEITEN orchestrating, rich texture, vivid semantically concentrated themes, origional intonations, which form «Skorik s intonation vocabulary». Skoryk s art demonstrates different stylistic models, such as: pastichio f.e., incarnation of Spanish medieval tradition related to the Ukrainian intonations of the Suite from the music to drama by Lesya Ukrainka «Anna and Commander», «In ancient style «, «Spanish dance «; quotation introduction of quotations from operas by Italian 19 th ctnturu composer J.Puccini in Skorik s ballet «Solomiya Krushelnitskaya». principle of «stylistic play» indirect, ambivalent representation of stylistic symbols of previous epochs (Cycle of preludes and fugues, Partita 6, «Diptych», «A-r-i-a» and other oeuvres). Preludes and fugues oriented towards profound tradition of polyphonic cycles of Bach, Hindemith, Shostakovych, Shchedrin, are revised in terms dominating improvisation, prelude and pure play. According to L. Kyyanovska, the music language of such works creates a «hermeneutic field», where «baroque and lamentation styles» coexist and interact whis «light pop rhythms» («Diptych», cycle of Prelude and fugue), as well as deep philosophical prelusion of Bach with playing techniques of Cherni s etudes [5, p.155]. Obvious ethnic roots often act as an integrating monostylistic factor. F.e., Skoryk harmoniously combines archaic rhythms and intonation of gutsul folklore with avant-garde melodies, intonations, rhythms and jazz formulas (the piece «In folk style»). This idea of «stylistic play» has a different reflection in the third part of chamber symphony Nr. 7 by E. Stankovych [6]. This idea is rooted into the ironic subtitle of this part («Once on a visit to the great Vivaldi») as well as in the genre structure of the oeuvre, which is interpreted both as a chamber symphony and a concert for violin with chamber orchestra. Genre and style model for Stankovych are concerts by A. Vivaldi as well as baroque concerts in general. Characteristic features of concerto grosso appear on different structural levels: compositional in the syntheses of three-part and rondo-like forms; dramaturgic in using the principle of contrast (contrast of characters, genres, timbres, dynamics etc.), in laconic and precise theme; language and stylistic conveing the contrasting image themes through typical means (contrast and imitation polyphony, baroque cadence on brink of sections, rhythm and timbre). The symphony is driven by the principle of concertizing, which directly relates to playing as a process of free, nonchalant, sometimes ingenious musicmaking.

5 МУЗИКОЗНАВСТВО У ДІАЛОЗІ MUSIKWISSENSCHAFT IM DIALOG The main feature of this work is combination of baroque stylistics with general romantic spirit. Polystylistic play emphasizes modern «framing» of the baroque intonation forms, it also creates allusions to the concert style of Vivaldi. The play principle is vividly shown in two themes: with vividly expressed allusions to Vivaldi s style: with hidden allusion to typical baroque theme model: Therefore the entire themes of the symphony, including alla Vivaldi, are not perceived as introduction of something «alien», but they sound as original, exclusively individual author s «word». Special attention should be paid to timbre dramaturgy, even to «personification» of timbres. Thus the violin solo represents the author s identity, going through the entire piece. Meanwhile, the harpsicord, an instrument of XVII XVIII centuries, was used by Stankovych only in the third part, through which he reflects on the past. The «stylistic play», which Stankovych used in the chamber symphony Nr 7 became the style attribute, as he had previously used these methods in «Symphoniette», the chamber symphony Nr 3. Original thinking of the composer, who created his opus at the turn of the century, appeared in adressing the romantic concept of the eternal search of the Beautiful. Music by V. Sylvestrov is typical for the culture of the turn of the century and at the same time is absolutely unique. Its typicality lies in the fact that the composer, as well as other contemporaries appeals to music and stylistic symbols of the past, using various polystylistic methods. In the meantime, its uniquness lies in the result of this dialogue. The stylistic system of the composer, despite its numerous citations and allusions, filling his oeuvres, is very integral and unique. As Marina Nestyeva writes, «Stylistic interrelation appears at the «molecular» level, it looks like an alliance with the artists of the past» [9, p.21]. Sylvestrov s own style, which was formed after avant-garde searching and was chosen in late 1970-s, is described by the composer himself as «metaphorical» and «weak». He says: «Having used the outdated «phonemes», I pronounced them as if they were mine. Because something which still alive, can be pronounced as a word of today, up-to-the-minute. And that means that a new language can enerege, as it seems to me I am still speaking this language» [8, p.14]. Addressing music and stylistic idioms of the past centuries (Mozart, Schubert, Chopin, Bach, Tchaikovsky, Wagner), Sylvestrov rearranges notional emphases, and thereby he muffles or even erases their stylistic individuality, therefore, he takes the statement to a more general level of «metamusic» and «metastyle». His works have the following features:

6 СВІТОВА ТА ВІТЧИЗНЯНА МУЗИЧНА КУЛЬТУРА: NATIONALE UND INTERNATIONALE MUSIKKULTUR: СТИЛІ, ШКОЛИ, ПЕРСОНАЛІЇ STILE, KULTUREN, PERSÖNLICHKEITEN special time structure featuring a universal scope of all processes; multidimensional time and space structure; special aura of seing the melody as the absolut (the author s credo is: «music is the world singing about itself»); waviness and cyclicity of sound at different levels [10]. M. Nestyeva says: «The performer, who plays and sings the oeuvres of V. Sylvestrov, finds it difficult to reconcive with absence of general line of motion in his music: each sound lives its own life in space and time, always lining up into some sort of sequence even in a pattern which seems scattered. One of the main tasks of the interpreter is to catch and convey to the listener this spiritual aura, which gave birth to the oeuvre and was partially embodied in notes, as if it were just a trace of the underlying message captured by the record» [9, p.66]. That is why the integral part of Sylvestrov s stylistic system is the art of performing, agogic methods, precise and fine nuancing. The oeuvre «Messenger» (it was written in 1996 in the memory of the composer s wife Larisa Bondarenko; further it became one of the parts of the Requiem by Sylvestrov) is based on the pasticcio of the beautiful theme alla Mozart, accompanied by silent «intoning» of the text of the Agnus Dei prayer. Conclusions. 1. Special type of the composer s thinking of the last third of ХХ beginning of ХХІ century present in the modern Ukrainian composer school intailes free use of stylistic models, leading to openness of music texts. 2. Polystylistic principle organizes a music oeuvre, because it is the basis not only for logic of creating the music, but also for the logic of performance, and certainly also for the logic of perception by the listener. 3. Modern polystylistics operates a broad range of methods (citation, collage techniques, pasticcio, allusion etc.). Consequently, plurality of stylistic origins melts into the emphasized integrity of style, covering both the concept level and inner processes of intonation and stylistic development. In other cases polystylistics as a method of composer work strives to get to a higher stylistic level, that can suggest metastyle. Ирина Коханик МЕЖДУ ПОЛИСТИЛИСТИКОЙ И МЕТАСТИЛЕМ: О СТИЛЕВЫХ ИСКАНИЯХ УКРАИНСКИХ КОМПОЗИТОРОВ НА РУБЕЖЕ ХХ-ХХІ ВЕКОВ Данное исследование посвящено проблемам стилеобразования в современном композиторском творчестве. Здесь, как известно, отмечаются