CC BY
18
https://doi.org/10.29013/ESR-20-11.12-18-20
Rudenko Oleksandr Fedorovich, Lecturer at the Department of Choral Conducting, Vocal and Methods of Musical Education, Sumy State Pedagogical University named after A. S. Makarenka, Ukraine
E-mail: sasha798132@gmail.com
CHAMBER-VOCAL OEUVRE OF THE UKRAINIAN COMPOSER VITALY HUBARENKO
Abstract. The article defines the place of vocal genres in V. Hubarenko's creative legacy. The article focuses on the early period of his creative life, when one of the foundations for his further pursuits was defined. The main features of the vocal music of the composer are denoted.
Keywords: V. Hubarenko, vocal oeuvre, Ukrainian musical culture, vocal cycle, romance.
The chamber-vocal oeuvre of the Ukrainian composer Vitaly Hubarenko of the Sixtiers causes much controversy in contemporary academic amateur circles. His oeuvre was most diverse in its forms, genres, styles, structure, content, interpretations and unconventional ways of handling his tasks. The magnitude of his creativity can be seen in his well-known and often performed pieces such as the operas Zahybel' eskadry (The Destruction of the Squadron) (1966), Mamai (1969) and The Reluctant Matchmaker (1982), the mono-operas Letters to Love (second title - Tenderness (1971)) and Loneliness (1993), the ballet Kaminniy hospodar (The Stone Master) (1968) and the choreographic scenes Zaporozhtsi, opera- ballet Viy (1980) and symph onic-ballet Liebestod (1997), symphonies No 1 and No 2 (1967, 1978) and chamber symphony No 1 for violin and orchestra (1967), Concrete Poem for cello and orchestra (1963) Concerto for flute and chamber orchestra (1965) and Ukrainian Capriccio for violin and chamber orchestra (1973), the vocal cycles From the Poetry of Iosif Utkin (1962), Colours and Moods (1965) and Prostyagni Doloni (Hold out Your Hands) (1977). The composer also wrote other less frequently performed but no less remarkable operas, ballets, symphonies, pieces for orchestra including those with solo instruments, chamber music,
music for films, vocal cycles and romances, which were composed in different years.
The beginning of active creative work by V. Hubarenko accounts for the second half of the fifties, at the time of a relative liberalization in a total totalitarian regime. Rehabilitated writers B. Antonenko-Davydovych, N. Godovanets, N. Zabila, Z. Tulub, G. Hotkevich, and others; and posthumously rehabilitated N. Voronoy and A. Oles. New composers also emerge: V. Vinogradsky, E. Gutsalo, I. Drach, R. Ivanychuk, V. Korotych, D. Pavlychko, N. Rudenko, V. Simonenko, V. Shevchuk and others.
In music, due to liberalization, the oeuvre of S. Lyudkevych, Heorhiy and Platon Maiboroda, L. Revutsky, Y. Meitus, A. Shtoharenko, and A. Kos-Anatolsky spread actively. Pieces by O. Bilash, O. Filippenko and I. Shamo are becoming popular on the Ukrainian pop scene. Certainly, the censorship imposed by the previous regime alleviated its pressure temporarily, but there was no sign of it ceasing. According to the composer's wife M. Cher-kashyna-Hubarenko, "Vitaly Hubarenko belongs to the generation of musical figures of the sixties, which is associated with openness to the new, overcoming the cultural isolation of Soviet art of the previous decades" [2, P. 6]. Many of the Sixtiers artists began to experiment, to renew the imagery world, to seek
CHAMBER-VOCAL OEUVRE OF THE UKRAINIAN COMPOSER VITALY HUBARENKO
new ways to express their ideas. In vocal music relevant issue was the interaction of word and sound, the possibility of their synthesis to reveal the depths of the inner world. The young Vitaly Hubarenko also pursued this line of thought.
In general, the creativity of the composer is inherent in an ardent desire to reflect the reality surrounding him, allowing it to pass through his personal understanding and comprehension. This can be clearly seen in his vocal cycles created in the second half of the twentieth century: From the Poetry of Iosif Utkin (1962), Colours and Moods (1965), Two Romances in Words by F. Krivin (1966), Prostyagni Doloni (Hold out Your Hands) (1977) and Osinni sonety (Autumn Sonnets) (1983). Musicologist N. Gordei-chuk, a contemporary of V. Hubarenko, described his oeuvre as follows: "A sharpened psychological comprehension of reality and the constant mapping of its underlying tendencies" [1, P. 11].
Though much has been written about the composer to date, there remains a wide field for musico-logical research. For example, there is an insufficient analysis of the vocal-theoretical and performing aspects of such chamber pieces as the mono-opera Letters to Love (for soprano and orchestra) based on Tenderness (1971) novel by H. Barbusse and Loneliness (for tenor and orchestra) based on a novel by P. Mérimée Letters to an Unknown (1993). An analysis of these pieces will undoubtedly lead to a greater popularisation of the composer's oeuvre among young performers. The topic of professional cooperation between potential soloists and the composer in the course of the work remains insufficiently covered. This aspect is also extremely important, as performing in this kind of genre requires both specific skills in working with literature, and knowledge of the practical side of vocal performance. It is partly thanks to this knowledge, which was acquired through creative interaction with practising performers, that V. Hubarenko was able to make the most of the human voice. It is partly thanks to this constant creative symbiosis that his characters have such emo-
tionalism and genuine power of feeling. The virtue of scrupulous work with literary and poetic sources and the selection of emotionally charged material was inherent in the character of the composer. As the musicologist N. Nekrasova noted, "taken from the outside was subjected to thorough analysis before entering into flesh and blood, preserving everything natural" [3, P. 2].
Vitaly Hubarenko turned to the genre of vocal music throughout his artistic life. While studying at music school in Kharkiv under the guidance of O. Zhuk, he wrote vocal pieces such as Stoyala ya i sluhala vesnu (lyrics by Lesya Ukrainka), Oy odna ya odna (lyrics by Taras Shevchenko), and Na mos-tu, nad tihoyu vodoy (lyrics by Mykhailo Rylsky), alongside instrumental pieces. This list of compositions shows that the young composer was attracted by emotional subjects. It should be mentioned that during those years he became fond of choir lessons with a famous choirmaster and composer Z. Za-granichny with the Manpower reserves chorus, where the future famous actress Evgeniya Mirosh-nichenko was performing.
During the first conservatory years, his fascination with the beauty of the human voice nurtured creative communication with the best representatives of the Kharkiv vocal school, many of whom taught at the Kharkiv Conservatory. Among them were Pavel Golubev, who brought up a pleiad of vocal performers, the most famous of whom are Boris Hmyria, Nikolay Manoylo, and Nonna Surzhina; Tamara Veske, who trained the future Honored and National Artists of Ukraine Oleksandr Vostryakov, Gaziella Tsipola, and Vasily Tretyak. Many of the vocal students became close friends of V. Huba-renko, whose professional opinion the composer valued highly. Romances were dedicated to some of them. For example, Dub (The Oak Tree) romance on words by M. Isakovsky was dedicated to a future soloist of Odessa Theatre of Opera and Ballet Evg-eny Ivanov. At the stage of the Kharkiv Conservatory (now Kharkiv National I. P. Kotlyarevsky University
of Arts) the future soloist of the Bolshoi Theatre, Vladimir Valaitis, loved to perform the composer's romances. It is known that he always followed the advice of his older friend from the Conservatory. Hubarenko always listened.
Generally speaking, Hubarenko is a composer who strives for large composition forms, the peak of which is undoubtedly the opera genre. But in the opinion of the author of this article, despite existing publications, one should not believe that small forms in Hubarenko's pieces are just blanks for future major works, on which he honed his skills. As a renowned
musicologist B. L. Yavorsky writes in his "Vitaly Hubarenko" book, "the capacious and mobile genre of the romance offered great opportunities for innovative research of themes, ways of musical and figurative expression" [4, P. 50]. It was a new world, new creative possibilities. Two years after he graduated from the conservatoire, his first collection appeared which, according to the composer, brought him his first fame; these were romances to the words of Iosif Utkin. The vocal genre and its variations subsequently came to occupy an important place in the master musician's oeuvre.
Список литературы:
1. Гордейчук Н. Осуществленные надежды // Советская музыка, 1969.- № 9.- 11 с.
2. В^алш Губаренко. Сторшки творчосп. Стати, дослЦження, спогади // Науковий вкник Нащо-нально!' музично!' академи Украши iм. П. I. Чайковського. Кн. 4. До 90 рiччя Нащонально!' музично!' академи Украши iм. П. I. Чайковського.- Ки!в, 2003.- Вип. 32.- 6 с.
3. Некрасова Н. Очерк о творчестве В. Губаренко // Композиторы союзных республик. Москва: Советский композитор, 1976.- Вып. 1.- 2 с.
4. Яворський Е. Вггалш Губаренко.- Ки!в: Музична Украша, 1971.- 50 с.
