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European Journal of Arts 3 (2021) ■ |^MIER Section 2. Musical arts - ISSN 2310-5666 -
UDC: 78.082.1:785.7]:78.071.1 (477) Havrylets DOI: 10.29013/EJA-21-3-64-71
O. V. POLIETAIEVA, 1
1 P. Tchaikovsky National Music Academy of Ukraine (Kyiv, Ukraine)
"233943 FALERA" BY HANNA HAVRYLETS: THE SPECIFICITY OF THE SYMPHONIC POEM GENRE
Abstract. The subject ofthe study is a symphonic poem for chamber orchestra "233943 Falera" by Hanna Havrylets. Objective of this article is to begin the study of H. Havrylets' symphonic legacy, in particular to reveal the specifics of reading the genre of symphonic poem in H. Havrylets' works.
Research methods. The study of work with a symphonic poem genre by H. Havrylets requires an interdisciplinary approach comprising both general scientific and specialized methods of knowledge necessary to reveal the subject of the study: historic-typological, functional, stylistic, holistic analysis.
Research results. A symphonic poem for chamber orchestra "233943 Falera" by Hanna Havrylets was analyzed. It shows that the composition is a work that at all levels follows the canon of the genre of symphonic poem, namely: contentful, compositional, dramaturgical. The musical language of the work is represented by the combination of sonorousness and tonal-harmonic devices, specific to the composer's handwriting.
Scientific novelty of the work lies in the fact that it is the first to introduce to the scientific review of the work for chamber orchestra "233943 Falera", on the basis of the detailed analysis its main stylistic and genre features as a symphonic poem identified.
Practical significance. The material of the work may be used for further scientific analysis of H. Havrylets' works as well as for study of the history of Ukrainian music in general and in the context of the study of cultural relations between Ukraine and other countries, including Switzerland.
Keywords: works by Hanna Havrylets; Ukrainian-Swiss cultural relations; symphonic poem; "233943 Falera" for chamber orchestra.
For citation : O. V. Polietaieva. "233943 Falera" by Hanna Havrylets: the specificity of the symphonic poem genre // European Journal of Arts, 2021, №3. - P. 64-71. DOI: https://doi.org/10.29013/EJA-21-3-64-71
Introduction. The history of Ukrainian-Swiss cultural relations can be traced back to the 16 th century [4; 14]. Nowadays the Swiss cultural program "Ukraine" is very active and has its positive impact on Ukrainian culture. In the musical sphere you can distinguish several lines of development of this bagatonic tradition, for example: touring and competitive-festival spheres, educational structure, formation and activity of polynational collectives, performance of audio recordings and publishing ofworks, commissioning of musical compositions to Ukrainian artists, etc.
The tradition of creative cooperation between these two countries is still preserved. A striking evidence of this is the work of Hanna Havrylets - an outstanding Ukrainian composer, teacher, active member of the National
Society of Composers of Ukraine (since 1985), deputy head (since 1999) ofthe Kyev organization ofthe National Society of Composers of Ukraine (hereinafter - NSCU), she is an honored worker of the arts of Ukraine (2005), secretary ofthe board ofdirectors ofNSCU (since December 2010), head of the Kyiv organization of NSCU (since 2011), professor (since 2012), corresponding member of the National Academy of Arts of Ukraine (2017). You can't help but be fascinated by her titles, achievements and honors. She is a laureate ofthe First Ukraine-wide Festival of Popular Music "Chervona Ruta" (Chernivtsi, 1989), the International Competition of Composers named after Ivanna and Mariian Kots (Kyiv, 1995), the National Prize of Ukraine named after Taras Shevchenko (1999) and the Choir Competition "Spiritual Psalms of the Third
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Millennium" (2001), the '
'Kyiv" award in the name ofAr-temiy Vedel (2005). The Order ofthe Holy P rince Volody-myr (2005) and the Order of Princess Olga (2008). She combined her creative and pedagogical activity. From 1992 she began teaching at the chair of composition at the P. Tchaikovsky National Music Academy of Ukraine (from 2012 - professor), she was the dean ofthe faculty of composition and history and theory (2004-2015).
Among musicians she became famous as a compo-ser-universalist, because in her creative work there are works of different genres: choirs, chamber-instrumental and chamber-vocal, musical-theatrical actions and orchestras. Various collectives not only Ukraine but also the world are happy to take to their repertoire works right after her author's pen. The performance of "Canti-cum" by the Transylvania State Philharmonic Orchestra of Cluj-Napoca, conducted by Simon Camartin (2007, Bollingen, Switzerland) is a case in point, "233943 Fa-lera" by the Graubunden Chamber Orchestra conducted by Misak Baghbudarian (2011, Falera, Switzerland), the symphony "Paraleli" by the Hajibeyov Azerbaijan State Symphony Orchestra conducted by Fakhraddin Keri-mov (2012, Baku, Azerbaijan) and others. The works of H. Havrylets are also in the repertoire of leading Ukrainian ensembles: National Symphony Orchestra of Ukraine (artistic director and principal conductor -Volodymyr Sirenko), the National Ensemble of Soloists "Kyiv Camerata" (director and artistic director - Valeriy Matyukhin), the National Chamber Ensemble "Kyiv Soloists" (artistic director - Anatoliy Vasylkivskiy) and others. But despite its popularity, composer's symphonic works are still out of musicologists focus.
Analysis of research. The research on H. Havrylets' creative achievements has only just begun. In music-critical publications and scientific literature the biography and the creative portrait of the composer are described; the history of performances of her works is illustrated, the premieres are characterized [8; 9; 16]; the stylistic specificity of the work is defined [6; 7]; the peculiarities ofthe individual style were determined [5]; the display of national artistic components was analyzed [10; 13; 17]; a folklore influence on the style and stylistics of choral and musical-stage composition was revealed [2; 11; 12]. But in works on musicology the role of symphonic legacy in H. Havrylets' works has not been revealed yet, individual works are only recollected partially or nominally.
Objective of this article is to begin the study of H. Havrylets' symphonic legacy, in particular to reveal
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the specifics of reading the genre of symphonic poem in H. Havrylets' works.
Scientific novelty of the work lies in the fact that it is the first to introduce to the scientific review of the work for chamber orchestra "233943 Falera", on the basis of the detailed analysis its main stylistic and genre features as a symphonic poem identified.
Methods of research. Comprehension of the reception of the peculiarities of working with a symphonic poem genre by H. Havrylets requires an interdisciplinary approach comprising both general scientific and specialized methods of knowledge necessary to reveal the subject of the study:
- historic-typological - used to identify the peculiarities of Hanna Havrylets creativity in the context of Ukrainian musical heritage, which is genre-stylistically linked to the Western European traditions;
- functional - necessary for analysis of the researched work in terms of consistency of content and structure;
- stylistic - to reveal the individual principles of Hanna Havrylets' compositional style by revealing the dialectics of tradition and innovation in her creative legacy;
- holistic analysis - to identify stylistic peculiarities of the work.
Subject section. H. Havrylets' relations with Switzerland are of a systematic nature, as her works are eagerly appreciated by Swiss musicians. Apart from the already mentioned performances, it is worth mentioning that especially for the Swiss duo Innovation Duo (consisting of Jakub Dzialak and Anna Dzialak-Savytska) the work "Beyond Body and Soul" (2007) was written, which became indispensable in the concert programs of the ensemble. Especially for the concert on the occasion of the Xth Astronomers' Meeting in the city Falera, Simon Camartin commissioned H. Havrylets for a work entitled "233943 Falera" (2011), and last year the Swiss publishing house "SORDINO" published the score.
Even though the composer herself has not seen the beauty of Switzerland alive, from the stories of the main sights of Falera she took over and skillfully created in the music composition the joy and even pride of the inhabitants of this small commune (625 people by 2020), the canton of the Grisons. The fact is that in 2007 the Mirasteilas Observatory was opened in Falera at the instigation of the amateur astronomer Jose De Queiroz. It was here that the researcher using Cassegrain reflector
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21 February 2009 to identify an asteroid with a diameter approaching three kilometers at a distance of approximately 315 million kilometers from Earth, called it "Falera" and received the number of the minor planet 233943. It is this discovery was caused by the name and the idea of the composition of H. Havrylets.
The fascination with the nature of Switzerland has more than once inspired Ukrainian musicians to create musical compositions. For example, Lesia Dychko wrote "Swiss Frescoes" - a choral concert based on texts of Swiss poets for two readers, mixed choir, organ and percussion (2002), in which she depicted nature, man and the understanding of peoples. For this purpose, the composer turns to texts in German, Swiss and Italian, which add authenticity to the work: they are interpreted by the readers between the movements, while the chorus sings these texts in Ukrainian. The choral sound in the concert is close to symphonic, with timbre, tessitura, and imitative possibilities of the voices with their characteristic for artist's style of creativity innovative organization of the sound material.
Among the modern composers H. Havrylets was not the only one, who in musical compositions expressed their fascination with the beauty of Falera itself. Earlier, in 2004, Yevhen Stankovych composed a poem-concerto for violin and orchestra with the program title "Menhirs da Falera". The composition was written for the Menhir Music Festival1 in Falera (held during the 2004-2011 years) for S. Camartin, who was its director and co-organizer at the time.
It is known that in Falera at the top of the hill (1200 meters above the sea) there is a park "La Mutta", which is famous for its giant menhirs, located throughout its territory. The sight is over 3500 years old and dates back to the Bronze Age. Scheme of placement of stone boulders indicates that ancient people used them as a calendar (indicating the summer and winter solstice) and marked on them the events of planetary scale - the movement of the planets of the solar system and even the synodic period ofVenus. This ancient monument and its history of thousands of years have not left bypassed the Ukrainian composer, and the impression and sensation of seeing all the greatness of this place is created in his
music. The monumentalism and grandeur with which the mountainous landscapes of Falera are associated with all their secrets and discoveries have been symbolized by the musical instruments. Stankovych's music is characterized by orchestral diversity, which is achieved by using a chamber orchestra, but with an extended percussion group. Thus, the combination of the timbres of various solo instruments - violin, timpani, horn - creates the idea of the might of the universe, its inexistence and immovability, as well as people's attempts to comprehend and understand it. Studying the works ofYe. Stankovych Yevhenia Sirenko considers a characteristic feature of the poem-concert to be that the musician "consolidates specific image-dramaturgical functions behind certain timbres" [15, 228] and determines the link between the deployment of the events in the work with the changes in the timbral combinations.
In this creative diversity, the symphonic poem "233 943 Falera" by H. Havrylets is often performed by various ensembles, and the work is rave praised by critics and public. For example, after the Swiss premiere the local press wrote that "the audience was entirely receptive and even enthusiastic about this new, modern music"2 [3], and after the Ukrainian premiere at the festival "Music Premieres of the Season 2012", performed by the National Ensemble of Soloists "Kyiv Camerata" (conductor - V. Matyukhin) the press commented that the composer offered a valuable creative solution, and "the light, effervescent, luminous music <...> graced with unpretentious baroque and classical barbs in the spirit of Renaissance opuses" and fully corresponds to the idea of the work [9, 17].
H. Havrylets herself identifies the genre of the work as a symphonic poem. It was formed in the era of Romanticism and has a number ofcharacteristic features that distinguish it from other related genres (symphonic fantasy, symphonic picture). The nature of the symphonic poem as a genre is linked with the literary romantic poem, to which its basic principles are connected: the prevalence of a single image, the synthetic character of the drama (the interplay of lyrical, epic and dramatic principles) and compositional freedom. One of the most important figures that influenced the process of genre formation is
1 Works by other Ukrainian composers were also commissioned especially for this festival: Zoltan Almashi wrote "Mirasteilas" for two violins and strings (2006) and Viktoria Polova wrote "Capriccio for John Balzer" for bassoon and strings (2008).
2 "Dieses neue moderne Werk fand bei den Zuhörern eine überraschend offene, ja sogar begeisterte Aufnahme" Here and further other sources are quoted in the author's translation.
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programme. Irina Appalonova [1] distinguishes literature (poem, drama, tragedy, legend, tale, story, balada, philosophical treatise), painting and architecture as the main extramusical prototypes from which the symphonic poem originated. The researcher also identifies a number of cross-cutting themes of art that form the canon of the genre, namely: general problems ofbeing, eternal images of culture, specific historical events, the destiny of real historical characters, plots from ancient mythology, the mythology of other European cultures, comic and humorous plots, autobiographical motives, landscape and folk images, etc. At the same time, the scholar notes that "changes in the interpretation of musical images and, in broader terms, themes are also seen as one of the factors in the evolution of symphonic poem" [1, 13]. In the dissertation of I. Appalonova there are four levels of specifics of the program, which are typical for this genre: "the title of the work in general; the presence of programme subheadings for individual episodes; the introduction of verbal explanations of the main themes of the symphonic poem; using a special system of author's notes, which help to reveal the character of the heroes, convey their moods, and comment on various plot situations" [1, 14].
In addition to plot and content parameters, the genre canon of symphonic poems also has dramaturgical and formative peculiarities. Thus, the dramatic canon of symphonic poems is dominated by: the triad of epic -lyric - drama (with the domination of one or another structure depending on the historical period); different types of dramaturgy (mono-elementary, paired, multi-
Table 1. - H. Havrylets. «233943 Falera».
elementary); dynamic logics of dramatic development (the principle of half wave, undulatory, extensive); genre transformation of the image; dramaturgical modulation.
The compositional canon of the symphonic poem presupposes: the presence of free, mixed, polifunctional form; synthesis of the principles of sonata, cycle, variation, rondo, contrasting, concentric, and other forms; and the use of mono-and leitmotiv methods. Thus, in the historical evolution of the genre there is a tendency for each individual work to have its own unique form, dictated by the specifics of the content and idea.
According to these criteria, H. Havrylets' symphonic poem for chamber orchestra "233943 Falera" already by its title alone confers on the listener a certain range of images, which will be carried in the work. In view of the short history of the composition, it is clear that the sounds of nature, cosmic images and human reflection on the natural environment and the greatness and power of the world will be taken from the sound canvas.
The composition of the poem develops according to the principle of three-partness, but with a tendency to cross-cutting development, because there are no thorough repetitions. All of the reprise parts are significantly modified and dynamised. This way the composer manages to retain the idea of the development of all living things. Only the coda introduces a static element, as it only repeats the thematic elements that make up the entire composition of the work. Therefore, there are features of concentricity. This freedom of form is one of the fundamental characteristics of the symphonic poem genre.
Schematic representation of the form
A bars 1-83 B bars 84-151 Ai bars 152-191 A' bars 192-227
a ai > a 106-128 - stretto 128 135 pastoral 136-151 - hymn 171 - culmination Coda
1-41 42-66 67-83
Beautiful commune's amazing pictures of nature in southeastern Switzerland are reproduced with the musical language. At the beginning of the work the main thematic elements are formed (four of them), on which the entire development of the work will be based. The poem begins with the soft sound of the violins in a col legno touch together with the harp (the first thematic element, bars 1-4), which in turn simulate the first glimpses of light, depicted in the dew speckles. A further awakening of nature is the song of the birds, which reproduced by the timbre of the violins, which gradually join the "choral extravaganza".
Second thematic element is the quasi-trill strumming of the violin, which probably conveys a feeling of fascination (b. 5-9). This element, together with the following thematic material, will be the most active in the development of the work. The constant variation of these thematic elements gives the grounds to consider the features ofvariation form. The third element is the short imitative statements of quasi-improvisational strum, like a flicker of light (b. 20-21). The fourth is visually associated with cosmic glimpses, and "intrudes" into the overall sound quite unexpected due to the big amount of instruments (nine
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violins, three violas, and a harp) and broad melodic range (the volume of tenth). In the expositional section, these themes are played in turn or in counterpoint, and due to the lavish repetitions and gradual dynamization create a feeling of maturation and grandeur.
A certain stop of this development are the sonoris-tic dots between the sections, which are distinguished, apart from the rhythmic factor, by the timbral barring of the vibraphone. These stops are perceived as an opportunity to listen to the formed sound space, and at the same time they illustrate the composer's aspiration to use sonoristic devices.
The following section (a1) is based on the transformation of the third thematic element (flickering). The first few statements here are performed without a stop and with variations of repetitions on the body of the harmonic complex (passing harmonic turns from ninth chord to eleventh chord), and then go back to their imitative statement by drawing on second thematic element (the emotion of the fascination from the expositional section here develops into a feeling of admiration). In addition, the composition of the percussion group expands, adding new barbs to the sound. The dramaturgical development is directed to the culmination of this part. It is based on the development of the preceding forms of the composition, except for the general melodic flow - the inferior sequentially-propelled passages and the dynamics and textural fading down take the dynamics in a different, quieter direction. In the next, reprise section, all of the themes resound in a short and dynamic way.
The music of the middle section (B) has a completely different figurative sense, it is the lyrical center of the work. Its main theme, a lengthy, epic melody of broad breathing, takes on new dimensions with each statement. It begins with the violins, and with its beauty and grandeur appeals to a powerful image of the universe that is distant and immovable. Second time theme sounds stretto in low and high strings, and thus covers a wider range. This variant of the theme is more about the unity of the earthly, human beginning with the unknown, extraterrestrial. In considering the history of writing, it is appropriate to draw an analogy with how ordinary people discover the depths of the universe and discover new celestial bodies, and the harmony of the world is found in this integrity. Third time the theme is presented
in various roles, beginning with wind instruments, which have a pastoral touch, but beginning with the second sentence, the theme is played by the tutti orchestra, which gives it an anthem touch. This is a chanting greatness of nature, the universe, and the joy of humanity. Although the traditional notion of tonality in the work is not respected, there are still some mainstay centers to which the development of the thematic material is directed. For example, there are several tonal centers in the melody of the middle section: A major, F-sharp minor, C-sharp major, and B major.
Also, in the middle section another dramatic line of the work is formed, which is related to the lyrical sphere of imagery. Here, the image of the universe is transmitted through the prism of human feelings, and these components interact according to the principle of complementary contrast. The paired dramaturgy of the work is formed on the basis of the moral antithesis "human being - universe".
The reprise (A1) continues the tendency towards dynamization of the movement, as this part begins with a counterpoint of two thematic elements with a deliberate introduction of the third. In the performance of the whole orchestra, this music develops a majestic, joyous, inspired sound and is reminiscent of the total Renaissance opuses (as was noted in the critical publications). This course of action is directed to the general culmination of the creation, which sounds like an apotheosis of joy. From the conversation with H. Havrylets, we learn that the main force that the composer sought to convey through her work - "a positive emotion, because it was in this beautiful place (it could happen anywhere), a new alien phenomenon has been revealed"1. The main section of the form concludes with the theme of the cosmic glimpses at the zenith of the culmination. Thus, the dramatic logic of the work is directed to the top (the principle of half wave), as in fact it ends with culmination. However, the sounding of the final section, the coda, conveys the reflexion of the viewer. All thematic elements are returned to it, which creates a thematic arc with the beginning of the work. The difference lies in the fact that after all the vicissitudes, the texture here, compared to the exposition, is more saturated, and so-noristic devices are used. Thus, the themes sound on the background of the sustained thickened harmonic lines, which are formed by cluster verticals. The timbral play
1 Interview with Hanna Havrylets. September 02, 2021. Personal archive of O. Polietaieva.
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is also of great importance here, as every statements of the themes of the cosmic twists and turns is performed by another instrument, either harp or horn: this adds an extraterrestrial mysticism to the sound, which is reinforced by the maracas' whistle.
Summary. Turning to the genre of symphonic poem gave H. Havrylets an opportunity to open the idea of the work with a light and natural sound and to be free in accordance with the canon of the genre. The composer gives in to the generalized type of programme indicated in the title of the work. This was probably done to prevent the listener from indulging in indefinite narrative interpretation and to reveal in advance the narrative idea of the whole, to define its main moments. But at the same time gives some freedom in interpreting the plot of the work: because, despite the fact that the composition is dedicated to a small comet, still cosmogonic theme is staying here in the background. The main thing is positive emotion, joy and enthusiasm for the fact that the opening was not made in anywhere, but at the Falera. And this event started a number of activities (in the astronomical, tourist and cultural spheres) - important not only for Switzerland, but also for other countries, including Ukraine.
The artist interprets the genre of symphonic poem in accordance with its established canons. Thus, the dramaturgy is selected according to the principle ofhalf wave, i. e. growth and completion ofthe development at the culmination point, but in the coda, due to the return ofthe thematic development to the beginning ofthe work, a complete composition is formed, which indicates an innovative, authorial approach of the composer to the traditions of the genre. In addition, the antithesis of "humanity - the universe" was masterfully created through the arrangement and interplay of two imagery. This ambivalence forms the paired dramaturgy of the work, which is a traditional phenomenon for symphonic poems of the postliszt period.
In accordance with the compositional canons of the symphonic poem genre, H. Havrylets also interprets the form in a completely consistent manner, combining the principles of three-partitionality, concentricity, and variations. All these means are supported by the musical language, which is represented by the combination of sonorousness and tonal-harmonic devices, characteristic of the composer's handwriting. For a greater co-loristic effect an expanded group of percussion instruments, thirds "skyscrapers" (N. Gulanitskaya's term), and clustered accords are used.
References
1. Appalonova I. V. The genre canon of a symphonic poem and its refraction in instrumental music of the 19th - early 20th centuries: manuscript of dis. ... of the Candidate of Art Criticism by specialty 17.00.02 Music Art. Zagir Ismagilov Ufa State Institute of Arts. - Saratov, 2009. - 28 p. [in Russian].
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4. Drahan A. Ukrainian-Swiss cooperation in the field of chamber and instrumental art. Scientific compilation of the Mykola Lysenko National Music Academy in - Lviv. 2015. - Vol. 34: Chamber instrumental ensemble: history, theory, practice. - Lviv, 2015. - P. 121-128. [in Ukrainian].
5. Kokhanyk I. M. About the determinants of an individual style of Hanna Havrylets. Scientific reporter of Tchaikovsky National Music Academy of Ukraine. - Vol. 44: Music of the 20th century: a view from the 21st: a collection of scientific works devoted to the anniversary of prof. T. Hnativ. - Kyiv, 2006. - P. 167-179. [in Ukrainian].
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10. Maskovych T. M. Hanna Havrylets' choral creativity in the context of "new sacredness". The dis. ... of the Candidate ofArt Criticism by specialty 17.00.03 Music Art. Vasyl Stefanyk Precarpathian National University; Odesa national A. V. Nezhdanova academy of music. - Odesa, 2018. - 223 p. [in Ukrainian].
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12. Nyskohuz I. Features of the interpretation of Ukrainian folklore in the oratory "Barbivska koliada" by Hanna Havrylets. Scientific collections of the Lviv National Music Academy named after M. V. Lysenko. Music Studies Studios. - Vol. 32. - Lviv, 2014. - P. 183-191. [in Ukrainian].
13. Severynova M. Yu. Archetype of sophia as the basis of musical and dramatic potential (on the example of creativity H. Havrylets). Kyiv musicology. R. Glier Kyiv Institute of Music; Tchaikovsky National Music Academy of Ukraine. - Vol. 38. - Kyiv, 2011. - P. 230-238. [in Ukrainian].
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Information about the author
Olena V. Polietaieva, Postgraduate student at the Department of the History of Ukrainian Music and Music Folklore-
studies of P. Tchaikovsky National Music Academy of Ukraine
Address of organization: 1-3/11 Architect Gorodetsky St., 01001, Kyiv, Ukraine
E-mail: [email protected]; tel.: +38 (098) 578 1849
ORCID: 0000-0002-7669-5887
полетлева о. в., 1
1 Нащональна музична академiя Украши iMeHi П. I. Чайковського (Кшв, Украша)
«233943 FALERA» ГАННИ ГАВРИЛЕЦЬ: СПЕЦИФ1КА ВТ1ЛЕННЯ ЖАНРУ СИМФОН1ЧНО1 ПОЕМИ
Анотацт. Об'ектом досл!дження обрано симфошчну поему для камерного оркестру «233943 Falera» Ганни Гаврилець.
Мета cmammi - започаткувати досл^ження симфошчного доробку Г. Гаврилець, зокрема розкрити специфжу прочитання жанру симфошчно! поеми у творчоси композиторки.
Методи до^дження. Осмислення рецепцп особливостей роботи з жанром симфотчно! поеми Г. Гаврилець потребуе мiждисциплiнарного тдходу, що мштить як загальнонауков^ так i спецiалiзованi методи тзнання,
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необхгднг для розкриття теми дослгдження: Гсторико-типолопчний, функцгональний, стильовий, цiлiсного анализу.
Результати до^дження. Проаналiзовано симфонiчну поему для камерного оркестру «233943 Falera» Г. Гаврилець. У творi на Bcix рiвнях втглено канон жанру симФошчно'' поеми, а саме: змгстовому, композицгйному, драматургiчному. Музична мова твору представлена характерним для композиторського почерку поеднанням сонористики i тонально-гармонiчних засобiв.
Наукова новизна роботи полягае в тому, що в нгй уперше введено до наукового обггу твiр для камерного оркестру «233943 Falera», на основi докладного аналiзу визначено його основнi стильовi й жанровi особливостi як симФонгчно' поеми.
Практичне значення. Матерiал роботи може бути використаний для подальшого наукового осмислення творчостi Г. Гаврилець, а також у процесг вивчення iсторГi украшсько! музики загалом i в контекстi дослiдження культурних зв'язкгв мгж Украшою та гншими крашами, зокрема Швейцаргею.
Ключовi слова: творчгсть Ганни Гаврилець; украшо-швейцарськг культурнг зв'язки; симфонгчна поема; «233943 Falera» для камерного оркестру.
1нформац1я про автора
Полетаева Олена Володимир1вна, аспгрантка кафедри гсторп украИнсько! музики та музично'1' фольклористики
Нацюнально! музично'1' академп Украши гменг П. I. Чайковського, Кшв, Украша
Адреса оргашзацп: Украша, м. Кшв 01001, вул. Архгтектора Городецького 1-3/11
E-mail: [email protected]; тел.: +38 (098) 5781849
ORCID: 0000-0002-7669-5887
