The tandem work by Volodymyr Zubytsky and Liubov Mandziuk in the phenomenological paradigm of contemporary bandura art

Section 1. Kharkiv Contexts

Abstract

Statement of the problem. The phenomena of tandem relations became wide spread in the poly-varieties artistic panorama of the second half of the 20th century – early 2lst century. Among them, there is the tandem work of a bandura player L. Mandziuk and a composer V. Zubytskyi, which largely determines the stylistic, technical, and timbre-coloristic trends in contemporary academic bandura performance. The compositions created by V. Zubytskyi in close collaboration with L. Mandziuk have taken a worthy place in the contemporary bandura repertoire, therefore, the study of their tandem creativity is an urgent scientific task. Objectives, methods, and novelty of the research. The purpose of this study is the theoretical comprehending the phenomenon of tandem creativity of V. Zubytskyi and L. Mandziuk and its significance in modern bandura art. For the first time, an attempt has been made to analyze the specifics of the long-term and fruitful interaction of two masters as a driver of innovative processes in the artistic space of Ukraine by using such research approaches as biographical and phenomenological, performance and interpretative, systemic and activity-based, and relational optics (according N. Bourriaud). Research results. V. Zubytskyi and L. Mandziuk have been collaborating since 1988, when the bandura player became one of the first performers of the composer’s works (“Serenada”, “Rozdum” / “Reflection”, “Madrigal”, and others). At that time, they impressed her with their profound philosophy, complexity of musical language, intonation, and rhythm. Later, L. Mandziuk began to combine her performance activities with teaching – she founded a modern bandura class at the Kharkiv I.P. Kotlyarevsky National University of Arts. Hence, V. Zubytskyi’s original works became the highlight of her students’ concert and pedagogical repertoire. The composer and the bandura player have similar spiritual-existential and musicalstylistic orientations. The performer firmly defends the position of modern “image creation” of the bandura, and the composer’s works for this instrument are the most outstanding examples of Ukrainian neo-folklorism with avant-garde and improvisational elements (“Sonata for bandura solo in memory of K. Miaskov”, “Piece on the tune of the Ukrainian folk song “I Shumyt’, I Hude” / “It is noising, it is buzzing”). L. Mandziuk popularizes the music by V. Zubytskyi. In November 2019, at the invitation of Lina Naikeliené, professor at the Lithuanian Academy of Music and Theater (Vilnius), the bandura player held a master-class on performing the “Sonata for bandura solo in memory of K. Miaskov” for students of the kanklés class. L. Mandziuk also initiated and organized the first and so far the only concert of original works for bandura by V. Zubytskyi (Kharkiv, April 4, 2019). Conclusion. The long-standing artistic dialogue between V. Zubytskyi and L. Mandziuk involves not only the exchange of ideas and experience, but also polemical intent and discussion, which focused on the artistic work. Thus, the tandem work of V. Zubytskyi and L. Mandziuk is an effective form of artistic interaction, the achievements of which enrich Ukrainian musical culture.