Modern Ukrainian Music: 1980 - 2000[1]
Ludmila Yurina
Ladies and gentlemen!
It is very
pleasant for me to appear before you and to share my ideas with you. I hope that
our contact will prove to be mutually beneficial. I assure you that the weather
in Texas is more agreeable than the cold temperatures of my city in
Ukraine! Prior to the beginning of my
presentation I would want to thank Professor Gerald Gabel and Dr. Richard
Gipson, Director of the School of Music at Texas Christian University, for
their generous invitation to present this lecture and for assistance in
translating its contents from Russian to English. Actually we started with an internet
translator because Dr. Gabel’s Russian is not as good as mine!
To begin,
it would be desirable to note that, at present, musicological investigation of
the systems and generalities of Ukrainian musical culture from 1980-2000 does
not exist. Therefore, in today's lecture, I am limited by time restraints in
presenting so much information. Certainly, it is not possible to present
extensive detail of the enormous amount of material generated during this
period and to mention all composers and all works of this period, but I will
try to present important moments and stages of development of Ukrainian music
of the post-Soviet period of 1980-2000.
Contemporary Ukrainian music is now greatly
diverse in style and genre. It has
numerous influences in its heritage. There is music written in the spirit of
the best traditions of social realism and Soviet traditions. This includes
compositions of Andrey Shtogarenko, Nikolai Dremlyuga, and Vitaly Kireyko. Also we have music written in more dated
styles of classical music of the 19th century, as well as music of a
more popular style which we call “kitch” (for instance, Petrov Omelchuk’s
"We come (revolutionary step of the orange revolution"). There is
also electronic experimental music by Ivan Nebesny and Alla Zagaykevich),
"Post-modernism" in the music of Helen Zinkevich, Sergey Zazhytko,
Ludmila Yurina, Karmella Tsepkolenko, and Vladimir Runchak). Finally, there are
the “happenings” in the works of Sergey Zazhitko and Daniel Pertsov. This is a
synopsis of contemporary Ukrainian music.
Before approaching the characteristics of music in
the 21st century, let us briefly reflect upon 80-90 years of the
past century. The Ukrainian school of composers had several directions, such as
folklore, vanguard, and traditionalism in the spirit of social realism.
The
Ukrainian composers of the previous 70-80 years, which belong to previous
directions, continued the traditions of the school which glorified Communist
values of Lenin and the Communist Party. In those times especially, music was
composed to commemorate important dates like anniversaries of the October
Revolution, the Young Communists, the birthdays of Lenin and other leaders of
communist party, and to the congresses of the communist party. This music was
entirely subjected to the influence of Communist ideology. Significant examples
include compositions written to glorify important historic events like a
“Celebration Overture” (found in the catalogs of all composers), a composition
for choir entitled "Lenin, our flag" composed by Gerasimchuk, or the "Spring Ode Of Lenin" by
Vodovozov, the choreographic picture composed by Grzhibovsky entitled
"Collective Farm Wedding,” the song by Vermenych entitled "I glorify
the Communist Party,” “On Collective Farm Fields,” "Partisan Cycle"
by Meytus, "On the Dneproges Guard" by Borisov, and many others.
The
vanguard direction, represented by such composers as Valentin Silvestrov,
Leonid Hrabovsky, Vitaly Godzyatsky, Vladimir Zagortsev, was not openly
accepted by Soviet ideology. Of necessity, these composers had to "fight”
with the Communist framework. Some names of their compositions disturbed the
critics. Examples would include the
compositions "Eshatofony," "Mysterium,"
"Meditation," and "Projections on Harpsichord, Vibraphone and Bells"
by Silvestrov, "Emancipated Suitcase," and "Antiworld into a
Suitcase” of Godzyatsky, "Gradations," and "Volumes" by
Zagortsev, "Constants" by Grabovsky. At the beginning of the 1960s,
these composers created the group "Kiev Vanguard" (Silvestrov can be
considered one of the chief representatives of this group). They were notorious
and they were soon severely criticized by the conservative circles of the USSR
(Silvestrov was ex-communicated from the composers’ union and re-instated years
later). The Communist party considered the performance of Silvestrov’s work
“Projections,” conducted by the famous conductor Bruno Maderna, a “special
danger” to communist ideology. The music of Kiev Vanguard was influenced by
European culture. Twelve-tone technique became the means by which composers
organized their ideas and compositions. These include "Hymnus,"
"Eshatofony," and "5 Pieces for Piano" of Silvestrov,
"Stabilis" by Godzyatsky, and "Volumes" by Zagortsev.
The
folklore direction was embraced by all of Ukraine. It is in the romantic
tradition (thus it was said to include the influence of Ukrainian ethos). It
represented the continuation of traditions in the music of Kosenko, Revutsky,
Lyatoshinsky. From the younger generation of composers, compositions include
Miroslav Skoryk’s "Carpathian Concerto,” Vladimir Zubitsky’s opera
"Chumaks Road,” and the cantata "Chumaks Songs,” Vladimir Tylik’s
"Poltava Dances,” Levko Kolodub’s cycle of Ukrainian folk songs for
chamber orchestra entitled "Ukrainian Suite,” and Yevhen Stankovich
created the salient folk opera “The Flower of Fern”.
It is
possible to say that the symphony was the prevailing genre of this period. Its
forms included sonata, non-sonata forms, "epic” compositions, collage;
they are topical, theatrical, linear or those not related to particular events.
The brightest representative of this time and genre was Yevhen Stankovich with
his symphony entitled “I Am Asserted”. Other important composers include
Miroslav Skoryk, Oleg Kiva, Ivan Karabits, Valentin Bibik, and Gennady
Lyashenko.
The 1990's
brought a change in Ukrainian music. The evolutionary process begun in previous
years continued. The new generation of composers was oriented to the music and
composition schools of Western Europe, and world traditions. This picture of
total change arose because of the collapse of the USSR and establishment of an
independent Ukraine in 1991. Limitations previously imposed on composers were
eliminated. All ideological prohibitions concerning musical creation and
culture disappeared. Young Ukraine composers were able to become acquainted
with the latest works of the most widely known composers of the entire world,
including different genres and directions. Young composers began to travel to Europe
to attend master classes and to participate in concerts and festivals of
contemporary music. At that time, the notion of organizing festivals and
concerts was entirely new. The works of contemporary composers both Ukrainian,
and foreign were presented. All these processes also stimulated the activity of
Ukrainian composers and the deepening of their creative searches - to
experiment. In connection with the introduction of these ideas to young
Ukrainian composers, the Ukrainian school of composers adopted some changes,
accepting the European styles, research and experiments. The galvanizing factor
in this direction was the establishment of the International Forum of Young
Composers in 1992, which is presented, to this day, in Kiev. The festival
provides performances of music of young composers. The influence of the German
school became noticeable in the music of Karmella Tsepkolenko, Ludmila Yurina,
and Vladimir Runchak. The music of Mauricio Kagel influenced Sergey Zazhytko
(for instance his work Zbigniew Batjuk), and Vladimir Runchak with his
composition “Message to M.K. for piano”. The influence of the French school of
spectral composition founded at IRCAM in Paris, is found in the music of Alla
Zagaykevich. Also important is the
Italian school, particularly the composers Berio and Nono.
In the
decade beginning in 2000, the new directions in Ukrainian music became more
ingrained. Contemporary music in the
Ukraine became more important with new compositions, by the young generation,
oriented to the European style. This
included more projects with foreign performers and the composers developed
international contacts. Ideological and
other limitations completely disappeared.
It is possible to note several stylistic directions:
1. the "Post-modern,” outlined by the musicologist Helen Zinkevich,
includes works which continue the line of traditions of the previous 60-70
years. These tendencies are found, for
instance, in the music of Oleg Kiva, Yevhen Stankovich, Miroslav Skoryk,
Gennadiy Lyashenko, and Alemdar Karamanov;
2. works created in the radical European style by composers such as
Alexander Shchetinsky, Alexander Grynberg, Karmella Tsepkolenko, Vladimir
Runchak, Sergey Pilyutikov, and Alla Zagaykevich; and …
3. the experimental music of Daniel Pertsov and Sergey Zazhytko.
Predominant
genres of this period are symphonic, works for choir, chamber, electronic, and
experimental music. Electronic music becomes more widely represented in the creative
output of Ukrainian composers. This includes the recent projects and
compositions of Julia Gomelska (“Flute vers-inversions”), Ivan Nebesny
("Last rite of the old sorcerer"), Ally Zagaykevich
("Pagoda") , Sergey Pilyutikov ("In the lung of breath" –
for flute with electronics), and Ludmila Yurina ("Quad,” and the
electronic ballet "EXISTENZA” with video). There is also continued
research in works adapted to the stage including the “happenings” of Sergey
Zazhytko – the cycle of "Batjuk" works). Composers of the middle and
older generations continue to work actively in the genres of symphonic,
chamber, and choral music (for instance, Lesja Dychko and Victor Stepurko). As
a whole, the music of Ukrainian composers is increasingly presented in other countries
(especially at festivals and on concerts). Ukrainian composers are more
frequently invited to conferences and to compose music in other countries
(Karmella Tsepkolenko, Ludmila Yurina, Vladimir Runchak, Yulia Gomelska, Sergey
Zazhytko, Svetlana Azarova, Vadim Larchikov, Zoltan Almashi). This is an
indication that Ukrainian music has reached a level of professionalism
commensurate with levels of composition in other parts of the world. Composers
continue to create works based upon Ukrainian folklore, which was as important
in the past 50 to 60 years as it was previously. The importance of music based
on folkloric themes was encouraged by the Soviet government since, to them, it
seemed more endearing and comprehensible to the average person. The use of folkloric
themes is represented in the music of Dremlyuga, Shtogarenko, Filippenko, and
Kireyko. In these works, they incorporate the melody of folk songs and, upon
this, the entire work is built. In recent years there has been less emphasis on
this genre. Musicologists emphasize that the Ukrainian culture of singing has
an enormous influence on all forms and genres of music including classical and
popular. The intersection of the Ukrainian way of life with Ukrainian song, its
poetics, emotionalism, and force of expression is very important.
The most
notable recent development is an increase in the composition of works oriented
to orthodox themes and the use of canonical orthodox and biblical texts. In
this category are the "Liturgies" of Lesja Dychko, "Word of
Simeon" by Victoria Poleva, spiritual choruses and the cantatas of Hanna
Havrylets, Igor Shcherbakov, Irina Aleksychuk, Bogdana Filts, Victor Stepurko
and others. The genre of "spiritual songs” is extremely popular in Ukraine
and has a wide audience.
The generation of young
composers is oriented both to European styles and to post-Soviet values. The young composers include Alexey Vojtenko,
Elena Serova, Alexander Bondarenko, Oleh Bezborodyko, Jaroslav Odrin and
others.
Let us pause to reflect upon
"postmodernism,” with which musicologists are now actively engaged. The
invasion of postmodernism occurred in the ‘90s. As has already been stated,
this was caused by the disintegration of the USSR and by the extensive
connection of the Ukraine to information sources of world musical culture. In
Ukrainian postmodern music, there are several approaches:
1. In the work of some composers, it is found in, perhaps, 1 or 2
compositions,
2. There are composers, who systematically work in the postmodern style
such as Vladimir Runchak and Sergey Zazhitko),and …
3. Other composers, especially those of the older generation, who have
no relation to it.
There are also signs of classical postmodernism:
1.
the demonstrative play upon traditional names for compositions, proclaimed in
the names of compositions including Vladimir Runchak’s "Antisonata,” "Non-concerto,” and
"Something Like A Quintet”. Although these names are genuine, they are not
the most radically titiled of Runchak’s compositions;
2. a mix of ironic or unusual texts antiphonally (in the style of the
playwrite Ionesco) in a purely dimensionless intertextual space. Sergey
Zazhitko’s "Songs of the Folks of the World" is representative of
this movement;
3. the simulation of game situations,
which are manifest in the most varied forms (lingual mixtures) including Sergey
Zazhitko’s "Fallosiped,"
Vladimir Runchak’s "Knock – No
Knock – No” for 2 percussionists; and
4. provocation as found in Sergey Zazhitko’s "More!,” "To
Samuel Beckett" for silent narrator and double bass, "Thus!,”
"Funeral Dances,” "Fallosiped" which uses hoses from vacuum
cleaners.
The Ukrainian musicologist, Helen Zinkevich, is
credited with the creation of the new designation of the contemporary
"post-postmodernist" style.
Musicologist
Yuri Kholopov suggests that all of the "revolutionary" changes in our
music are threaded together on one evolutionary axis. What will happen after
this evolution? Kholopov considers that all fragments of the 20th century
indicate the end of the new time in the music (17th to 19th
centuries), and the beginning of the newest time. Among the consequences of
this global process, two are basic changes in the "MATTER" of music
and a change in its "BEING".
During the
process of the metamorphosis of "matter": sound is emancipated and
acquires independence from tone. Tonality and other pitch organizations
(dodecaphony and others), find self-worth (being freed from any system
including tone rows). It becomes the “object" of research and is
decomposed into the overtones (spectrum) and then, by the object of composition
(creation), into sonority (electronics). Non-traditional sounds (musique
concrete) begin to appear in compositions. The "matter" of music
becomes the absence of music or silence. And music, enlarging its territory,
finally uses as its material absolutely everything: all actions of human
vitality, activity, environment and real space (Zazhitko’s "To Samuel
Beckett” for silent narrator and double bass, and Eugene Kostitsyn’s "Minute
of Silence” for any ensemble). The essence of music becomes a devaluation of
anthropocentrism. Musicologist Yuri
Kholopov notes: "The 20th century witnessed the swift evolution of the
musical object - not the simply regular fact, but the event, which did not
exist previously." Elena Zinkevich
writes "We enter into the century of ‘protoform’ of a new
order". A new aesthetic paradigm is
vividly manifested in contemporary Ukrainian music. The boundaries of "the
field of music" have changed (in connection with the new topical
orientation): texts of vocal works are drawn from the writings of Kharms,
Khlebnikov, Hesse, Beckett, and vanguard poetry. The new topics require new technologies
(Alla Zagaykevich - "Geroneya" on the novel Milorad Pavich). The main
object and the protagonist of all collisions of the contemporary musical
process is that sound becomes character and "the object of research"
in "acoustic" works (Alexander Shchetinsky’s “Sound for Sound,”
Ludmila Yurina’s "Sound Illusion,” Alexander Gugel’s "Germination of
Silence,” and Vladimir Runchak’s "The Game of Sounds"). "Deep
listening" is developed in the sound (Victoria Poleva’s "Numbers,”
and Alexander Shchetinsky`s “Glossolalies”). The manipulation of numbers as a
fundamental organizational approach in music is revealed in compositions as
"mathematical" image (Ludmila Samodaeva’s "Formulas,” Ludmila
Yurina’s "Geometrikum,” Svetlana Azarova’s "Chronometer,” and
Svyatoslav Lunyov’s "Near your Throne".) With the generation of
composers over 40 years of age, the appearance of new radical and ultra-radical
ideas has promoted a desire to taste all new styles of music. It is possible to
name some features characteristic of contemporary Ukrainian music:
1. A high level of compositional technique in the created works,
2. Assimilation of Pan-European and world aesthetics,
3. The presence of the most diverse genres including symphonic,
oratorio, vocal, chamber, electronic, and theatrical music.
All this
testifies to the stormy processes of the development of contemporary music in
Ukraine. At the same time, Ukrainian music is presenting new directions. Our music exhibits the appearance of new
styles, aesthetics, thematics, and, finally, a change in orchestral style
(Svyatoslav Lunyov’s "Tutti," Victoria Poleva’s "White
Interment,” Ludmila Yurina’s "Crystal" and others). This makes it possible to look to the future
of Ukrainian music with optimism and to await new discoveries and appearances
of new and remarkable works.
[1] Lecture Presented at the Festival
of Ukrainian Chamber Music, Texas Christian University, October 28-31,
2008.