The ontogenesis of the early symphonies of Valentyn Silvestrov
The ontogenesis of the early symphonies of Valentyn Silvestrov

Summary/Abstract: Purpose of Research. The purpose of the research is to detect the ontogenesis of the symphonic compositions in the early creativity of Valentyn Silvestrov. The author uses the Second, Third, and the Fourth Symphonies as examples and consideres their compositional dramaturgy within the historical-stylistic genesis of a Ukrainian symphony. Methodology. The methodology of the research is based on the ontological, historical-typological, and structural-functional methods. Also the structural-semiotic approach and the method of hermeneutics were applied. Scientific Novelty. The scientific novelty of the study lies in discovering new ways of interpretation of the historical-stylistic genesis of a Ukrainian symphony and symphonism of the latter part of the 20th century using Valentyn Silvestrov’s early symphonic creativity as an example. Nonuniformity, detected in compositional-dramaturgic models of the Second, Third, and Fourth Symphonies points at different vectors and ways in overcoming a typological standardization. Thus, the analysis of the genre concept of the Second Symphony identifies being as a sound reality (de natura sonores), a contonative dramaturgy, a refusal from the anthropocentric model of a symphony. First a compositional-dramaturgic analysis of the Third Symphony has been carried out. The latter pronounces historism as a type of consciousness (homo historicus) and a category of time as a basic category. A word serves as a structure-forming principle in this symphony. The intonational-dramaturgic analysis of the Fourth Symphony detects key features of a reflexive monodrama (homo credens) coming from an alteration of the nature of a dramatic conflict based on the inner self-movement of music’s lyric consciousness. Conclusions. The ontogenesis of V. Silvestrov’s early symphonies is based on the author’s inner speech and manifests itself on the level of different compositional-dramaturgic models. It presumes a change of the paradigm and reconsideration of the historical-typological principles of symphonism in Ukrainian music of the 20 th-21st centuries.

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