Performance reception of Vasyl Barvinskyi’s String Quartet in G minor in contemporary chamber practice

Abstract

The article analyzes the performance reception of the String Quartet in G minor by the twentieth- century Ukrainian composer Vasyl Barvinskyi within the context of contemporary chamber ensemble practice. The work is examined as a significant example of Ukrainian quartet music of the first half of the twentieth century, combining pedagogical orientation with a high level of artistic and compositional thinking. The relevance of the study is determined by the growing interest of modern performers in the national chamber repertoire and the need for its reinterpretation from the perspective of contemporary performance aesthetics. Particular attention is paid to the specificity of interpreting the imagery and stylistic, formal and textural features of the quartet. The role of the performer in the process of actualizing the composer’s intent is analyzed, as manifested in the choice of tempo-rhythmic solutions, articulation, dynamic balance and ensemble interaction. Special consideration is given to the problem of the dual nature of the work as both educational material and concert repertoire, as well as its influence on performance interpretation. The methodological framework of the study is based on historical-stylistic, interpretative and analytical-performance approaches. The performance experience of Ukrainian chamber ensembles in interpreting the String Quartet in G minor is summarized, typical interpretative models are outlined and tendencies toward deepening the artistic and imagery content of the work beyond a purely pedagogical reading are identified. The importance of ensemble culture, intonational unity and stylistic balance is emphasized as decisive factors in successful performance realization. It is demonstrated that this string quartet emerges in contemporary chamber practice as a multidimensional artistic phenomenon capable of diverse interpretative approaches. Its active inclusion in concert and educational repertoires contributes to the actualization of Ukrainian chamber music heritage and to the formation of nationally oriented performance thinking.