«LVIV DODEСAPHONY SCHOOL» IN THE CONTEXT OF GALICIAN MUSICAL MODERNISM

Abstract

The purpose of the research is to determine main role of twelve-tones composers J. Koffler and T. Majerski in Galician musical culture of the first half of XX century considering their activity as weighty part of Galician modernism and find confirmation of this thesis in the works of Polish and Ukrainian musicologists. Methodology. The article uses the following research methods: historiographic (study of the history of musicological heritage devoted to the first dodecaphonists of Galicia), comparative (comparing the approaches of Ukrainian and Polish musicologists to the interpretation of the figures of J. Koffler and T. Majerski), complex (for generalization of aspects of the investigated phenomenon). Scientific novelty. In this article, for the first time, it was made an attempt to unite and generalize the positions of Ukrainian and Polish musicology regarding the affiliation of J. Koffler and T. Majerski to Ukrainian Galician musical modernism. Conclusions. Jozef Koffler and Tadeusz Majerski are important figures not only for Polish music, but also for the musical culture of Galicia. After all, composing in the twelve-ton technique, they took a niche, which was not targeted by Ukrainian Galician composers. The study of the works of Polish researchers showed that they definitely view Koffler and Majerski as Polish composers, who, however, worked beyond the Polish national folk tradition. The greatest researcher of the figure of J. Koffler – M. Gołąb, is inclined to see him as composer-cosmopolitan. I. Lindstedt considers J. Koffler and T.Majerski as direct predecessors of the later Polish dodecafonists. But at the same time he calls them «Lviv dodekafon school». E. Niedecka believes that the Polish composers who lived and worked in Lviv were inextricably linked with the Ukrainian artistic environment. Therefore, in her research, she tries to find the points of contact of both cultures – Ukrainian and Polish – in a multinational Lviv. As for Ukrainian musicologists, they unanimously included J. Koffler and T.Majerski in the general context of the development of the musical culture of the region, recognizing their important role in the development of Galician musical modernism. O. Kozarenko, L. Kyianovska, R. Stelmashchuk and others. admit that even, at first glance, the marginal status of followers of the Second Vienesse School in Galicia does not create a precedent for ignoring this trend in the context of the most progressive period in the history of music in the region. After all, dodecaphony was one of the central symbols of that time and the obvious fact of its influence on Galician musical modernism must not be ignored.