Statement of the problem. One of the fundamental principles of contemporary developing the guitar art of Ukraine is the creation and enrichment of an original repertoire. The creative and personal contributions of guitarists – both composers and performers –constitute an essential component and a driving force behind the advancement of professional guitar art and the development of the national performance tradition. The 21st -century Ukrainian guitar studies offer a wide range of research topics – from the aesthetics and poetics of guitar art to interpretative approaches to its performance-specific features. However, the diversity of genres and stylistic approaches in the works of contemporary Ukrainian composer-guitarists remains insufficiently explored. Among such composers, there is Valentyn Zadoianov (b. 1981) – a contemporary Ukrainian author and guitarist. Objectives, methods, and novelty of the research. The purpose of the article is to characterize the compositional interpretation of early music genres in the guitar works of V. Zadoianov, based on selected pieces (“Virelai”, and “Tayfier’s Canzona” for solo guitar). Within the framework of the dissertation by S. Hrynenko (2021), the compositional output of V. Zadoianov only as a representative of the cultural milieu of the Mykolaiv region is examined. The article offers, for the first time, a comprehensive analysis of selected guitar works by V. Zadoianov, taking into account their genre and stylistic principles, as examples of the composer’s reinterpretation of historical genres. Since we have chosen a research strategy based on the interpretation of genre, the central methodological approach is the genre-based method. Thanks to the stylistic method, it becomes possible to study the “encounter” between two stylistic systems – early (ancient) and contemporary music. Research results. Valentyn Zadoianov (b. 1981, Mykolaiv, Ukraine) is the Ukrainian guitarist, composer, poet, and educator, representing the new generation of Ukrainian guitarists. The most distinctive feature of Zadoianov’s compositional style is his appeal to the semantics and stylistics of early music. Particularly influential on his artistic language has been the aesthetics of composers from the Medieval and Renaissance periods. The principles of Zadoianov’s compositional interpretation of early music through the example of the genres virelai and canzona were examined. Zadoianov’s “Virelai” in A minor, within the contemporary musical space of Ukraine, is not merely a stylization of a medieval genre, in which the composer skillfully combines archaic traits of musical language, interpreting guitar music in the spirit of the lute tradition; it also testifies to the actualization and demand for pre-Baroque aesthetics in modern creativity. The composer’s musical language is not simply an expression of early music stylization (diatonicism, imitation of lute style in accompaniment, narrative character, narrow melodic range, and its distinctly vocal nature), but also reveals a rediscovery of the worldview embedded in early music. Zadoianov’s “Canzona Taifera” (Lirico, F-sharp minor) is a one-movement programmatic piece, whose thematic nature is deeply rooted in the phenomenon of songfulness. The poetics of “Canzona Taifera” do not signify a return to past aesthetics, but rather a search for meanings relevant to the present. Conclusion. The work of Valentyn Zadoianov is the example of compositional interpretation of early music genres in contemporary Ukrainian guitar music. The composer’s musical language is distinguished by a synthesis of elements from the academic performance style with early genre models and the aesthetics of the pre-Baroque culture. In Zadoianov’s interpretation, the guitar emerges as an instrument that reproduces the aesthetics of the medieval lute, not so much literally as conceptually. His works represent an important contribution to the development of the new Ukrainian guitar repertoire, while simultaneously promoting the revitalization of cultural memory and expanding the notions of interpretative possibilities in contemporary musical art.
Ihor Tarnovetskyi (Thu,) studied this question.