Statement of the problem. Volodymyr Zubytskyi (born 1953) is an outstanding composer, concert accordionist, conductor, teacher, and music public figure. His choral music is increasingly performed in concert halls, captivating listeners with its rhythmic and intonation richness. A holistic analysis of the selected works will help to understand the logic of the internal development of the works and, accordingly, the composer’s dramatic thinking. Many studies, including monographs, have been devoted to the bright and original work by V. Zubytskyi. However, most of the available studies of Zubytskyi’s creative work concern his accordion works and the analysis of the composer’s choral miniatures. Objectives, methods, and novelty of the research. The purpose of the article is to determine the specifics of the intonation dramaturgy of the chamber cantata“My Grandfather, dudaryk” by V. Zubytskyi. The article is the first scientific study devoted to the cantata “My Grandfather, dudaryk” in the context of intonation dramaturgy. This aspect of the study is valuable not only for scholars but also for performers of contemporary choral music. The specifics of the work led to the use of the following research methods: cultural, historical, and biographical, structural and systematic, musical and analytical. Results and conclusion. A striking example of jewelry work with intonation material is “My Grandfather, dudaryk” a chamber cantata for mixed and children’s choirs and chamber ensemble based on the words of T. Shevchenko, V. Symonenko, and texts of Ukrainian folk songs. The work was composed in 2020 and is dedicated to the “blessed memory of Mykola Leontovych”. The intonation foundation of the cantata “My Grandfather, dudaryk” consists of eight vocal and three instrumental themes. The composer chose different verbal texts for a reason: some of them warm up the national spirit of the cantata, some emotionally lighten the mood after dramatic episodes; the work significantly rethinks the text of the song “My Grandfather, dudaryk” and other themes. In the cantata, the composer combines author’s and folk verbal texts, different intonation material such as folk song folklore, stylization of a baroque minuet, along with polytonality and sonorous consonances. The cantata’s intonation drama forms in three directions: – illustration of the leading themes of the work; – development of individual themes in solo conducting throughout the work; – development of the theme in counterpoint with other themes. V. Zubytskyi unites different themes with the help of intonation affinity, sometimes changing the harmonic circumstances, tempo and rhythmic conditions, and making minor rhythmic and intonation adjustments.
Pavlo Selinskyi (Thu,) studied this question.