UKRAINIAN CHAMBER-INSTRUMENTAL CULTURE OF THE FIRST HALF OF THE TWENTIETH CENTURY : GENRE-STYLISTIC AND PERFORMANCE ASPECTS

The article systematically examines the development of Ukrainian chamber-instrumental music in the first half of the twentieth century in the context of genre-stylistic transformations and performance practice. Two principal vectors in the evolution of the genre are analysed – an academic line (rooted in the tradition of Mykola Lysenko) and a modernist line (associated with the school of Borys Liatoshynskyi) – whose interaction shaped a national paradigm of chamber musical thinking.Particular attention is devoted to the phenomenon of Liatoshynskyi and his compositional school as a focal point of the avant-garde transformation of the genre, which synthesised experimental compositional techniques with national intonational codes. The study also considers the impact of tragic historical events on the formation of the works’ intonational and imagistic sphere. Using Liatoshynskyi’s Ukrainian Quintet for two violins, viola, cello, and piano (1942; second revision 1946) as a case study, the article analyses the specificity of performance interpretation in Ukrainian chamber-instrumental compositions. The significance of the chamber genre is substantiated as a key space for the articulation and identification of a national style that integrates academic heritage, folkloric sources, and modernist experimentation.