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In the 17th cent. Mykola Dyletskyi was the most outstanding composer of the entire Slavic world. He determined, to а large extent, the development of music on а territory which included Ukraine, Belarus, Lithuania and Russia. Little is known about Dyletskyi as а private person, even the dates of his birth and death are not certain (1630? -1690?) The only information available to us came from Russian statesmen who referred to him as "resident of Kyiv" and "foreigner". However, his stay in Vilnius where he received solid education at the Jesuit Academy including the title of academician, was clearly documented. Dyletskyi was the author of the first East-european treatise on the theory of music "The Grammar of Music" (1675-1681) which appears in several editions and language versions. Relying on the academic viewpoint of the time, Dyletskyi put forth the basis for the aesthetics of music, rhetoric, theory, built the foundation for а new style, so called "partesny" (partes - part) which replaced the centuries-old monody. This style is best represented by the partesny concerto - а counterpart of concerto ecclesiastico in the harmonic basis, wealth of polyphonic and textural characteristics, register changes, play of harmonic and tembral colors. Baroque established itself in Ukraine at the beginning of 17th cent, and in the second half of 17th cent, was transferred by Ukrainian masters (singers, composers) to Moscow. In the Dyletskyi heritage, 2-choir (8 voices) compositions prevail in which the principles of Italian (mostly Roman) and Polish schools unite with а bright national coloring. Dyletskyi, а real professional and а person of broad thinking, actively pursued the European technique of composition, aiming to adapt it to the new environment, а different intonational lexicon. As substantiated by the treatise, its author was equally familiar with the common-folk music and traditions of the monodic singing, simpler forms of polyphony as well as with the accomplishments of European composers from Josquin Despres and Palestrina and Schuetz. All this provided for а strong foundation for the innovations of the composer of the "Resurrection Cannon". The works of Mykola Dyletskyi and а whole block of newly-found partesny concertos point to а great elevation in Ukrainian music of the 17th cent., which lead to а review of the concept of the history of Ukrainian and Russian music. The LITURGY (for 4-voice mixed choir) is one of the most original works by this composer with its tart, almost archaic sound. It points to а wealthy stylistic palette of the master and substantially differs from the double-choir "Kyiv" or "Preporcialna" liturgies which are satiated with timbre and harmonic colors, contrasting timbres and dynamics. Here Dyletskyi purposely refuses to avail himself of the attributes of the concerto style. Mostly cordal with scant immitation, the Liturgy illustrates а different aesthetic, bringing it close to the polyphony based on cantus firmus, taken from an old orthodox monody. The music of the Liturgy is always but an embodiment of the sacral text, therefore, it is fully subordinated to it. In the performance by the "Kyiv" Choir it impresses with the wholeness of the drama of the read and sung texts. All of this remains а real secret of the great composer, in that in such а simple, on first glance score he was able to implant such beauty and depth of meaning. Izhe Obrazu Tvoyemu ("We praise Your image... ") choral concerto for 4-voiced mixed choir appears in two registers: the State Historical Museum (Moscow) and the Russian National Library (St. Petersburg). This is one of the few of Dyletskyiъs relatively short works (97 measures) and is based on а canonic Byzantine text about the condemned heretics, written in а lyrical key. At the same time, the work blossoms out in а concerto style and is directly tied to the works of the 1670ъs. Voshel yesy vo tserkov (Entering Thy Church") concerto for double choir appears in two registers - at the State Historical Museum (Moscow) and in Kyiv. Traditionally, it is sung at Special Masses when the Metropolitan or Patriarch are present. This work displays the concerto style - with tutti and ensemble contrasting. All of the tutti are intentionally а double-choir as the activity of the antiphonal singing fills the church. Communion Verse Tilo Chrystove ("The Body of Christ") follows the Resurrection Canon. The only account of its existence is in Kyiv. Dyletskyi builds Tilo Chrystove" with its very short text into а sizeable festive work, symbolically repeating the text three times in various versions. The Resurrection Canon is known only from its Kyiv register. According to certain data, the Canon, as well as "Tilo Chrystove" and "Voshel Yesy" are dated 1682. Ioan Damaskinъs Easter Canon develops like а huge colorful fresco, where а wild rambling crowd filled with happiness and expectation is painted in clear bright colors. Clearly, the concerto style of the Canon relies on constant balancing between full-sounding tutti and ensembles. Owing to the performance of the choir, the Resurrection Canon becomes an example of а brilliant use of choral capabilities. Its ties are noticeable not so much with the Venetian school, or Orlando di Lasso, as they are with Palestrina. Some means may be attributed to Italian or German examples. The Canon fits well into the musical tapestry of the time. At the same time, as in his other works, the composer tends to head towards more stable or so-called "classical" trends. Dyletskyi does not gravitate towards drama, excesses, emotional exaggerations ( which fill Ukrainian works of that time). In that he comes closer to the Renaissance aesthetic than to Baroque. Clarity, harmony, stability are the characteristics of the partesny style at its peak, which is most fully evident in the Resurrection Canon. N. Gerasymova-persydska |
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