SEMANTIC AND COMPOSITIONAL ROLE OF BACH MONOGRAM IN «34 PRELUDES AND FUGUES» OF V. BIBIK

Abstract

The semantic and compositional role of BACH monogram in the drama of the cycle
«34 Preludes and Fugues» for piano by V. Bibik in general and in fugues No. 8 and No. 28 in particular is investigated. It has been determined that the intertextual connections of this cycle with the Baroque era are manifested not only in the composer's reference to the monogram in the name of great predecessor – J. S. Bach, but also at the level of the form of Fugue No. 8, which is characterised by the large-scale composition and filigree counterpoint work. In the context of neoclassical tradition, V. Bibik refers to ricercar, a genre of polyphonic, mostly instrumental music of the 16th and 17th centuries. Analysis of the artistic image of this fugue allows us to conclude that it is one of the key works in the drama of the entire cycle. Special attention is paid to Fugue No. 28, which has a calm, light image in contrast to Fugue No. 8 and reflects the composer's philosophical way of thinking, which shows the transformation of the original image of Fugue No. 8 into a light and celestial one in Fugue No. 28.

The aim of the study is to investigate the semantic and compositional role of BACH monogram in V. Bibik’s cycle «34 Preludes and Fugues» for piano.

Methodology. To achieve the set goal, the following methods were applied: theoretical, which was used to analyse and characterise particular elements of the preludes and fugues; the method of polyphonic analysis, the method of musical form analysis, methods of musical semantic and interpretative analysis.

The scientific novelty lies in the detailed theoretical and interpretive analysis of Fugues No. 8 and No. 28 of V. Bibik's cycle «34 Preludes and Fugues for Piano», in the study of the place occupied by BACH monogram in the drama of both these fugues and the entire cycle.

Conclusions. The detailed analysis of Fugues No. 8 and No. 28 of V. Bibik's cycle
«34 Preludes and Fugues» has led to the conclusion that the composer's reference to BACH monogram plays an important, but one of many semantic and constructive roles in the drama of the entire cycle, which leaves a wide range of research opportunities for new discoveries.