«Екзерсиси» для флейти, фагота і фортепіано Геннадія Ляшенка крізь призму розвитку камерно-інструментального мистецтва

The purpose of the article is to explore the evolution of the Ukrainian chamber-instrumental ensemble composed of flute, bassoon, and piano, investigating its distinctive musical language as well as examining the timbral and textural transformations of traditional compositional techniques. The research methodology. The study applies a comparative-historical method to analyse the characteristics of chamber ensemble instrumentalism in works by Ukrainian and international composers, complemented by a systematic approach facilitated by musical-analytical methods. Scientific novelty. This article contributes to the musicological discourse by examining the origins of this specific chamber ensemble and formally introducing Hennadii Liashenko’s ‘Exercises’ into scholarly discussions. This is intended to promote broader performance recognition of ‘Exercises’ within instrumental practice. Conclusions. Hennadii Liashenko's work is marked by an enduring quest for new forms of expression, particularly through an in-depth exploration of the timbral and textural potentials of musical instruments. This approach allowed him to create multifaceted sound contrasts within his chamber compositions. His ‘Exercises’ for flute, bassoon, and piano exemplify a contemporary perspective on this unique yet relatively rare chamber ensemble, which experienced a renewed wave of development in the 20th century. The ‘Exercises’ distinguish themselves through intricate texture, experimentation with classical ternary form, polyphonic exposition, and timbral colour that are characteristic of many of Lyashenko's works. For instance, the melodic material of the flute and bassoon interacts with the rhythmic and harmonic foundation of the piano. Throughout the ‘Exercises’, the bassoon functions as a contrasting counterpart to the flute, with its timbral flexibility contributing to the creation of varied textures, combining its rich, warm sound with the light, transparent timbre of the flute. Thus, the bassoon emerges as a primary vehicle for the work's dramatic development.