ЖАНРОВА СЕМАНТИКА В «SUITE NOSTALGIQUE» ДЛЯ КЛАРНЕТА І ФОРТЕПІАНО ТАРАСА ЯЩЕНКА

This study analyzes the role of compositions for solo clarinet and clarinet-inclusive ensembles as unique contributions within the oeuvre of Ukrainian composers. The research highlights the potential of these works to explore the expressive capacities of the clarinet, particularly in the context of chamber ensemble performance, genre innovation, and creative experimentation. The novelty of the study lies in identifying the semantics of chamber wind ensembles as an independent scholarly issue, especially given the growing number of such compositions. The paper examines the interrelation between genre-semantic and expressive factors through the example of Suite Nostalgique by Taras Yashchenko — a work marked by programmatic features and dedications. It explores how the composer’s dedications inspired the timbral nuances of the clarinet’s sound in each movement. The appropriateness of diverse research methods is substantiated: theoretical approaches are employed to explore the conceptual foundations of Ukrainian composers’ creative activity; retrospective and structural-systemic methods aid in the analysis of sources and scores; and historical methods illuminate traditions of clarinet performance and composition practices for wind ensembles. The study also highlights the composer’s stylistic vision of the suite as a polystylistic form incorporating neo-Baroque elements. The connection between genre characteristics, expressive-performance techniques, and personal dedications is revealed in each movement. The research underscores the relevance of further musicological investigation into genre semantics, timbral features of the clarinet, stylistic manifestations, and related performance practices in chamber wind ensembles within both Ukrainian and European music traditions.