Альтові концерти Євгена Станковича: взаємодія композитора і виконавця

This study examines the significant contribution of Yevhen Stankovych to the underrepresented alto concerto genre within Ukrainian instrumental music. While acknowledging the broader importance of concertos within the spectrum of instrumental forms, this article focuses specifically on Stankovych's two alto concertos: Concerto for Alto and Orchestra and SymphonyConcert for Alto and Orchestra. These works, unique within Stankovych's oeuvre, are analyzed in the context of their genesis, performance history, and formal characteristics, highlighting their crucial role in the development of the composer's instrumental concerto style. The impetus for these compositions is traced to commissions from renowned violists Andriy Viitovych and Daniil Raikin, who premiered the respective works. The performance history of the Concerto for Alto and Orchestra also includes significant contributions from Dmytro Havrylets, Professor of Viola at the National Music Academy of Ukraine, whose interpretations have graced prominent stages in Kyiv, Lviv, and Kharkiv. This article incorporates direct quotations from Viitovych and Raikin, offering valuable insights into their collaborative process with Stankovych during the creation and preparation of these concertos. Their personal impressions of the composer's musical language provide a unique perspective on the artistic intent embedded within the scores. Documented dates and venues of key performances demonstrate the ongoing significance of these works, particularly their inclusion in concert programs celebrating Stankovych's 60th, 65th, and 75th anniversaries. Furthermore, this study posits that these alto concertos represent a foundational moment in Stankovych's exploration of the instrumental concerto form. A concise overview of the formal structures of both works is presented, and a hypothesis is advanced regarding the distinct titular designations – "Concerto" versus "Symphony-Concert" – suggesting a potential differentiation in compositional approach. This research lays the groundwork for future investigations into the broader context of Stankovych's instrumental concertos, including the integration of these alto works within the larger framework. Areas for further study include a more in-depth analysis of the performing practices associated with Stankovych's alto concertos and a broader exploration of their stylistic influences and reception. This article contributes to a greater understanding of Stankovych's contribution to the Ukrainian musical landscape and the evolution of the alto concerto genre.