“Kyiv – the heart of Ukraine!” by Volodymyr Huba in the context of updating the chamber vocal repertoire

Statement of the problem. Objectives, methods, and novelty of the research. The creativity of representatives of the “Kyiv avant-garde” occupies an extremely important place in the history of Ukrainian musical art, in particular, as an example of the rapid and artistically valuable growth of music in Ukraine in the second half of the 20th century, which significantly influenced the further evolution of this art in the country. The above statement applies, in particular, to the creative output of V. Huba, who, together with V. Sylvestrov, V. Hodziatsky, and L. Hrabovsky, was a representative of the mentioned creative group. The composer worked in a significant number of genres covering the sphere of symphonic, choral, chamber-instrumental, chamber-vocal music. However, to this day, the artist’s life path, as well as his work, are not adequately covered in the musicological literature. There is a lack of a sufficient number of the studies in detail of the composer’s pieces, which would make it possible to draw conclusions about V. Huba’s connection with the traditions of Ukrainian musical art and its present, and would allow the performers to better understand the artist’s work and actively participate in its dissemination. The composer’s chamber and vocal music is no exception in this case, which primarily determines the scientific novelty of the article. The purpose of this study is to identify the qualities that give the considered works aesthetic value and determine their relevance for the modern performing repertoire. Research methods that make it possible to achieve the specified goal are musicological, comparative, figurative and semantic types of analysis. Results and conclusion. The results of the study fixe the identified genre-stylistic and artistic features of the considered works, which determine their relevance for the modern performance repertoire It is, in particular, about the use of the singer’s performance resources and the author’s appeal to certain performance roles; about the intonation features of the melody and its close connection with the poetic text in the considered works, which directly affects the depth and artistic authenticity of the musical image; about the features of the harmonic style, in particular, about the combination of several pitch systems within the considered cycle, which creates a bright artistic effect. Also, it refer to certain peculiarities of the piano part in the considered solos, which significantly affect the final artistic result. The macro-cycle contains works in which various, including “eternal” topics are revealed in a meaningful and detailed manner. The composer uses a wide arsenal of expressive means, which, most often, is an integral part of the creative method in the musical art of the XX–XXI centuries. The correspondence of creative ideas to their implementation and expressive and convincing purely vocal solutions make the considered work relevant and surprisingly desirable in the modern chamber and vocal repertoire.