Слов’янська музика у виконавській творчості Олега Криси
Slavic Music in Performing Creation of Oleh Krysa

Summary/Abstract: Oleh Krysa belongs to those "violinists of the world", that growing on certain traditional soil, managed to synthesize specific innate achievements with numerous other signs of culture. L’viv – Moscow – Kyiv – USA, and between that − hundreds of cities, that he visited with tour journeys, introduced in his world view some of the unique overtones, produced a look to the artistic inheritance and present time, that is characterized by universality and understanding of uniqueness of every artifact executed by him. From this point of view Oleh Krysa surprises scaleneness of his artistic interests, by absence of limitations in his stylish priorities − as he often confesses, he is taken by that work, what he executes presently. At the same time, he positions itself in the row of those musicians that have become representative of national culture in the world. However there are not enough publications devoted to him especially with more detailed analysis of his work. Most materials (R. Yusypey, Т. Коzyreva, І. Lyutyy, Т. Polischyk, Y. Horak, L. Melnyk, L. Kyyanovska etc.) are concentrated on an interview with a prominent artist and in this context they determine his artistic priorities. In that sense it seems very actual to find out the features of Oleh Krysa’s performing reading in works of different national schools and epochs, that determines the aim of the given article. In concerto work of the prominent violinist that was written on compact disks the special place is occupied by works of the Slavic composers. It seems very interesting to trace his approach to different national schools which, however, are united by certain general cultural tradition − Slavic. It must begin with an analysis of interpretations of the Ukrainian, Czech, Polish artefacts of different epochs and aesthetic and stylish directions incorporated by the eloquent name "The Spirit of Eastern Europe", 2010). It includes the cycles of the Czech composer Josef Suk (1874–1935), representative of Polish school Karol Szymanowski (1882–1937) and Ukrainian artist Yevhen Stankovych (1942) and also pieces of the famous Polish violinist-virtuoso Henryk Wieniawski (1835–1880). The Slavic origin of all artists allows to notice not only some common in Slavic interpretation of music but also to mark the cognation of intentions of authors of different countries and epochs to the world view and mental principles of performer. On the whole, the spirit of "European East" is perceived and transformed by Oleh Krysa not only as consonant to any other of European national culture − whether that French, or German, or Italian, but also at the same time it is marked by the lines of unique spiritual tradition in that, after our supervision, a basic place occupies refinement, organic of lyric reflection, propensity to direct, frank expression of feelings − but not in that superexpressive variant in that it is observed, for example, in the cultures of European South, but in the tints of delicacy, sympathy, full of fine distinctions and gradations in the palette of experiencing. The special accent is added by folklore allusions being both in Czech (J. Suk) and in Polish (especially − H. Wieniawski) and Ukrainian (Ye. Stankovych) works. A compact disk continues this Slavic line with the eloquent name "From Russia with love". It presents the panorama of violin opuses of the Russian composers for almost 150 years − from the director of Court singing choir in Petersburg, the author of the Russian hymn "Goodness, save a tsar" Oleksij Lvov (1798−1870) (on a disk he by mistake is adopted by Oleksandr, − М. К.), to the modern composer Rodion Schedrin (1932), and so various after genres: both original and translations and transcriptions. Alongside with the original axiomatic standards of music by Petr Tchaikovsky there is a row of very felicitous and quite often witty transcriptions on a disk, for example, from ballets by Sergei Prokofiev, Reinhold Glière or Igor Stravinsky, or and opuses of not popular authors of the past and modernity, as Nikolay Afanasyev (1820−1898) or Mikhail Ziv (cinema composer, 1921−1994). They are selected with a large taste and in integrity form the extraordinarily harmonious and versatile panorama of Russian national culture, perceived and transformed in an own world view by a modern violinist. On the whole the Slavic macrocycle presents the wide panorama of spiritual tradition, and in its own specific roots, in point of intersection, general with the European romantic and salon tendencies. It is impossible to skip a rich and differentiated timbre gamut that Oleh Krysa carefully selects to every work. If in large compositions these varieties not so strike the eyes, then in miniatures that kaleidoscopic change each other, it is felt extraordinarily brightly.

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