Academic genres in domra works of V. Iivko and I.E. Milka
The domra repertoire was considerably enriched in the end of the XX — beginning of the XXI century due to a fruitful activity of Donetsk region composers. A substantial part of domra works by Donetsk authors if formed by the academic genre works. Most of them were written by V. Ivko and Ye. Milka. The creative potential of these composers includes a wide of genres, forms, and up-to –date music trends. The works of gross forms — symphonies, domra orchestra concertos, domra and orchestra concertos, concertos, sonatas and sonatinas for domra and piano. Sonatas and pieces for solo domra, suites and genre works for different ensembles — domra duets, domra and guitar, domra and bandura. Small form works for domra and piano, and others. Domra works of academic genre by Donetsk composers has not been a subject of a solid research study yet. Therefore, the aim of this article is to order and systematize the works by V. Ivko and Ye. Milka, and introduction thereof in the scientific use. A significant uplift in the development of domra is attributed to the works of Ye. Milka. The composer whose background contains pieces for piano, violin, symphonic orchestra, has not passed over domra. An ultra-modern and sometimes quite complicated composer manner opens up new dimensions of the instrument sound. Works like “Concerto piece” for domra and piano, “Five concerto inventions” for two domras, “Sonata” for solo domra, “Symphony” for chamber domra orchestra are indicative in this sense. “Concerto piece” for domra and piano is one of the first experiences of the composer in his addressing to domra, which nevertheless showed an extraordinary reading of the instrument’s expressive capabilities by the author. The music canvas is a unique in its polyphony fusion. A simple melodic horizontal contains folk styled expressions. Full of complicated chords, goes beyond the traditional mode system. A skillful orientation in the texture panorama, a keen sense of acoustic patterns pushes the artist to the emergence of different kinds of ensemble works. “Five inventions” for two domras are built on a free, due to repetitions of separate elements, use of the twelve-tone rows. The inventions contrastive by their character draw the images of versatility and depth of human feelings. “Sonata” for solo domra is dedicated to the memories about his mother. The piece was meant to be a suite but later on the author embodies his idea in a sonata cycle. Ye. Milka draws the listener’s attention to a deep suspense of intonation frankness, not submitting to a temptation of demonstrating different instrumental techniques. The composing of V. Ivko is primarily dedicated to domra. The author’s achievements include a great number of large and small form pieces: “Concertino”, “Toccata concerto”, “Poem concerto”, “Concerto” No.3 in three parts, Sonatina for domra and piano, “Sonata” for two solo domras, “Sonata” for solo domra and “Symphony concerto” for a chamber orchestra “Domra faces”. A principal aspect of the composer’s language of V. Ivko is a conscious desire to create in a traditional manner to overcome the lack of classic-romantic direction works in the domra repertoire. In his earlier searches the composer used to be fond of avant-garde as of the time being composer techniques, being influenced by the modern West-European composers, in particular Bela Bartok. For example, “Concertino” where the author uses the twelve-tone technique. A skilful ability to show the intonation expressiveness along with a traditional formation provides the music with clarity and emotional appeal. The parts of “Sonata” for solo domra — Prelude, Canon, Fugue — keep the connection with the genre stylistics of an ancient suite-sonata at the level of structural elements and expression of form, but are built on quite complicated intonation idioms. In the view of the homophonic nature of domra, the realization of a polyphonic type of writing not only provides a possibility of an unusual decision for drama problems, but also extends by far the expressive capabilities of domra. And its nature associated with the fast fading of the sound needs a sensitive attitude in laying out the polyphonic texture, and requires a fair amount of skill from the composer. The possibility of showing the domra potential in a yet unprecedented virtuosity is very appealing for V. Ivko. This peculiarity is very characteristic for all his work, but it’s brightly expressed in “Sonata” for two solo domras and in the Final of “Symphony concerto” for domra orchestra. The concerto genre plays an important role in the works of the author. Along with the traditional reading of the classic genre models, we can find the composer’s will to move beyond the historically formed types of works. “Toccata concerto” — a concerto wound in simultaneousness resembling by its drama dynamics to a cyclic one. “Poem concerto” — a programme piece with the features of a traditional symphonic poem. “Symphony concerto” for domra chamber orchestra – a cycle where each part obtains a status of a solo, which moves the competitiveness inside the orchestra. The work of V. Ivko and Ye. Milka represents two tendencies in creation of music for domra. The first one is characteristic of composers who play domra and implement their creative ideas not limiting the composition genre palette and the technical means of realization, based on a thorough control of all available technical and artistic-expressive capabilities of domra. The second one — of composers who cooperate systematically with some domra performers, using the up-to-date writing techniques, actively searching for new, unusual means of the instrument sound