The Phenomenon of Concert Performance in the Liturgical Works of Ukrainian Composers (17th–21st Centuries)

This study examines the phenomenon of concertness in the liturgical compositions of Ukrainian composers across various historical periods. The multifaceted use of the term “concertness” in relation to liturgical music is analyzed, highlighting transformations at the genre and stylistic levels—from manifestations of concertness within the traditional liturgical rite to modern individual stylistic interpretations of the genre. It is shown that in the 17th to early 18th centuries, part song (partes) compositions exhibit processes indicating the growing presence of concert-like features in partes Divine Services, which culminated in the late 17th century with the emergence of a new genre—the partes concert. The liturgical works of composers such as Mykola Berezovsky, Dmytro Bortnyansky, Artem Vedel, and Semen Degtyaryov reveal new tendencies aligning them with concert creativity, linked both to compositional changes and to the use of a wide range of expressive means, some borrowed from contemporary secular music culture.The liturgical works of Ukrainian composers from the 20th to early 21st centuries are identified as spiritual music not intended for use in worship services. In the compositions of Lessia Dychko, Myroslav Skoryk, Yevgen Stankovych, and others, traits of concertness are emphasized. The study generalizes the scope of the term concertness in relation to Ukrainian liturgical creativity, particularly noting the presence of textural variability (chordal — polyphonic textures) and concert-like interplay akin to instrumental concertos—alternation of tutti and solo (often soli).It is noted that the shortened version of the Liturgy created in the second half of the 18th century, sometimes called “concert” Liturgy, was not originally intended for concert performance; however, the reduction of the liturgical cycle and the formation of a fully-fledged musical genre with its own dramaturgy made such performance possible in concert settings. Over the centuries, expressive musical means have been employed to deepen conceptual coherence and enhance aesthetic impact.The 20th century saw the emergence of the concert liturgy as a genre functioning primarily or exclusively outside the church setting, alongside choral spiritual concerts and individual liturgical chants designed for concert performance. The practical aspects of performing liturgical works both in worship contexts and concert halls are also highlighted.