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ANNOTATION
Lazarevych I. I. M. Antonovych's Byzantine Choir in the Context
of
European Choir Performance of the Second Half of the 20th
Century.
Qualifying scientific work on the rights of manuscripts.
-
7
Dissertation for a candidate degree in art studies in specialty
17.00.03
Musical art. Lviv National Music Academy named after M.V.
Lysenko,
Ministry of Culture of Ukraine. Lviv, 2018.
The dissertation examines the activities of the Byzantine Choir
led by
M. Antonovych and his aesthetic-style principles of performing
Ukrainian
liturgical music in the context of performing ancient religious
music in Europe
in the second half of the twentieth century. within the limits
of the movement of
historically informed performing.
In the first part of the dissertation, the performing traditions
of ancient
sacred music of the Western and Eastern rite, their development
in the second
half of the 20th century were studied; the aesthetic principles
of their formation
and the main problems are considered. It is revealed that the
main differences in
the liturgical performance of ancient religious music of the
Eastern and Western
traditions are related to the embodiment of the fundamental
ideological ideas of
the Eastern and Western Church.
The features of the singing tradition of the Eastern Church,
which is most
clearly represented in the Ukrainian church music by the
Kyiv-Pechersk Lavra
singing, are manifested both in the uniqueness of the Lavra
half-life itself and in
the style of its perfor, which are based on expressiveness as
the play of timbre,
the high degree of individualization of separate voices for
perfect somority, the
emotional expressiveness of singing, emphasizing the content of
the lyrics, and
the dynamical diversity associated with it. Kyiv Pechersk
singing combines
traditions of the Ukrainian Hirmologion, choral and national
performance.
The main features of the aesthetics of the singing church
tradition of the
Western Church are the rationality, the avoidance of the
individualization of
voices, the moderation of dynamic gradation, the lack of timbral
colourism,
restraint in the manifestation of emotions.
A loss of connection with the ancient musical tradition, which
in the
second half of the century began to lead to the complete lack of
music in the
liturgy in some churches, became the problem of the Western
Church in the
-
8
twentieth century. This contributed to the fact that the church
music of the
western tradition in the second half of the XX century gradually
moved into the
area of concert performance, and started being presented more
broadly than in
the liturgy itself. Performing this music within the limits of
the movement of
historically informed performances is valuable because in the
last decades of the
XX century it was, if not the only, the most professional form
of existence of
this music.
The tendencies that emerged within the movement are ones to
the
restoration of an integral medieval liturgy of the western
tradition, with the
performance of the Gregorian chant, singing and reading in
Latin, provided an
alternative to the decline that could be observed in the musical
life of the
churches. From the second half of the twentieth century the
basics of
historically informed performance are gradually adapting and
then start being
practiced in the framework of the liturgy. At the same time, the
development of
singing traditions of the Eastern Church in Ukraine, in
particular, and the
Kyiv-Pechersk Lavra tradition of singing, was interrupted due to
political
circumstances. In the framework of historically informed
performing, ancient
sacral music in Ukraine began to be performed again only in
recent decades.
The main features of historically informed performing are
the
performance of the work in a historical period that is not
intrinsic for it; the
study of music in order to determine the inherent elements of
performance in the
corresponding historical period; the specification of these
elements and an
attempt to bring the performing to the historical sound ideal as
much as
possible by reproducing these elements, which should ultimately
lead to a
holistic historically reliable performance as a set of
components identified
during the study and analysis.
The second part of the dissertation is devoted to reviewing of
the main
stages of M.Antonovych's formation as the future conductor and
the study
Byzantine choir's history of creation and activities under his
leadership in
19511991 on the basis of the materials of M.Antonovych's
archives and the
-
9
archive of the Byzantine choir, which are stored at the
Institute of Church Music
of the Ukrainian Catholic University (Lviv). The main factors
that influenced
the formation of Miroslav Antonovych as a conductor and future
leader of the
Byzantine choir are: the acquisition of Hirmologion and the
introduction of folk
group polyphonic singing; studying and singing in a choir under
the direction of
Dmytro Kotko at the Small Seminary in Lviv; participation in the
Choir of the
Association Lviv Boyan and in Mykola Kolessa's Studio Choir, a
vocal
ensemble under the direction of Yevgen Kozak; work at the Lviv
Radio
Committee. One of the sources of the formation of the
performance concept of
the Byzantine choir was Antonovych's vocal education in the
class of
O. Bandrivska at Lviv Higher Music Institute named after M.
Lysenko and the
experience gained during his work on opera stages, which
influenced the
methodology of his work as a vocal educator with singers of the
choir.
Antonovych's individual lessons of singing were an important
factor of
professional growth of choir singers during four decades of his
work with the
Byzantine choir. Myroslav Antonovych's performance and
methodical
foundations, and, consequently, the performing concept of the
team he led also
had a significant influence on his connections with professional
opera singers, in
particular, with Myroslav Skala-Starytsky.
The Byzantine choir, created for the purpose of performing the
songs of
the Byzantine rite in worship, broadly presents Ukrainian
spiritual music
tradition from the ancient Kyiv singing to the religious music
of Ukrainian
composers of the XX century. The education of participants of
the choir
included lectures on history of church singing, theoretical
instructions, practical
classes on vocals, translations and explanations of the content
of the lyrics,
learning the correct pronunciation. However, M. Antonovych
managed to
convey to the Dutch singers the most important thing the deep
essence of
Ukrainian music, its Ukrainian spirit . The uniqueness of the
Byzantine choir is
in the fact that for the first time in the history of European
performing, the effect
of maximal closeness to the traditional prototype of the
execution of Ukrainian
-
10
liturgical works by foreign performers, namely Dutch, had been
achieved in it's
activity. The choir sound was brought so much closer to the real
sound of the
Ukrainian choral singing of the liturgy in the natural context,
that sometimes it
was impossible to distinguish it from the real one. In the first
years of his
activity, the choir supplemented its repertoire with spiritual
and folk songs and
began an active concert activity. The repertoire of the
Byzantine choir consists
of two main directions liturgical works of the Byzantine rite
and Ukrainian
folk songs. Performed folk songs, processed by Ukrainian
composers, namely
variations created by M. Antonovych, and original works of
Ukrainian
composers, written in the spirit of folk songs. The collective
also performed
works of Western European composers. An important place in the
repertoire of
the Byzantine choir is taken by the creative heritage of M.
Antonovych, which
contributed to the popularization of Ukrainian folk heritage and
the spread of
Ukrainian culture.
The third part of the dissertation analyzes the Byzanthine
choir's
performance of liturgical music by M. Antonovych in the context
of European
choral performance of the second half of the 20th century and
the aesthetic and
stylistic concept of performing the liturgy of the Byzantine
rite from the point of
view of the historically informed performance. This section
deals with two main
traditions of Ukrainian liturgical performance, which M.
Antonovych and his
team tried to preserve and revive, namely, the Kyiv liturgical
tradition of
singing, and the Galician liturgical tradition of choral singing
in the second half
of the XIXth the first half of the XX century. The formation of
the sound ideal
of the Byzantine choir was influenced by the singing traditions
of the
Kyiv-Pechersk Lavra, which cultivated the aesthetics of
liturgical singing
formed during the Baroque period. The cultivation of the laurel
singing tradition
in the choires of O. Koshits, D. Kotko and J. Kaliszewski
contributed to the
continuity of the historical experience of vocal choral
performing practice.
M. Antonovych's artistic ideals were formed under the influence
of these
outstanding conductors, whose creative work, in turn, relied on
knowledge of
-
11
the ancient Ukrainian tradition of church singing and its
characteristic
performances.
An equally important tradition, reproduced by Antonovych, was
the
Galician tradition of liturgical singing of the second half of
the XIXth the first
half of the XX century. It has became an example for
Antonovych's
reconstruction of a holy liturgy, in which the Kyiv singing, the
works of
composers of the Golden Age and Przemysl School and the Samoil
singing
were traditionally combined. In the performance of the Byzantine
choir, as in the
Galician city liturgy of this historical period, the Kyiv and
Galician traditions
were harmoniously combined.
The section explores the concept of the Byzantine choir from
the
standpoint of historically informed performance. It is proved
that the Byzantine
choir's activity corresponds to all the main methodological
principles that had
been formed within the direction of historically informed
performance, and
therefore it should be considered in the parameters of modern
methodological
coordinates.
The Byzantine choir became a vivid event in the history of
choral
performance due to its founder and conductor M. Antonovych, who
formed its
performing concept on the basis of a deep knowledge of Ukrainian
liturgical
singing traditions and the individual methodology of work with
the choirs.
Key words: Byzantine choir, Myroslav Antonovych, musical
aesthetics,
liturgical singing, Byzantine rite, Catholic rite, historically
informed
performance.
-
12
1. .
. :
. . . . -,
2015. . 30-31 (. II). . 129-134.
2. . -
. :
. . . . , 2017. . 3 (25). . 76-86.
3. . :
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. . . . , 2017.
. 40. . 106-118.
4. .
.
: . . . . , 2018.
. 41. . 248-261.
5. .
. :
. . . . , 2018. . 1 (27). . 11-18.
6. Lazarevych I. Zachodnia i wschodnia tradycja wykonawcza
piewu
sakralnego: aspekt estetyczny. Kwartalnik Modych Muzykologw
Uniwersytetu Jagielloskiego: czasopismo naukowe. 31
(4/2016).
Krakw, 2016. . 5-21.
-
13
7. .
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8. . . :
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. 128-130.
9. . -.
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