CULTURAL AND ARTISTIC CONTEXT OF THE DEVELOPMENT OF THE SOLO SONG OF LVIV (the first half of the nineteenth century)

Abstract

The article reveals historical, social and cultural aspects of formation of chamber vocal works by Lviv composers. The author emphasizes the importance of changed national subordination of the city and country upon the cultural scene transformation; shows multicultural musical art of the region, influence of various folklore traditions, originally interpreted in the genre of songs. The author concludes that the intensity of salon, social and theatrical life, demo-cratization of musical events, as well as using folklore sources of various nations, were reflected in songs by Lviv composers of the first half of the 19th century. Both works of professional musicians and amateur songs were taken into consideration. The author analyzed main thematic groups of songs by Lviv composers of the above period, including: sentimental and lyrical trend, “courtly” amorous poetry (romance songs by F. X. Mozart and J. Ruckga-ber); celebrating tranquil pleasures and sorrows of a little man (“She‘s in love” (Zakochana), “Never?” (Nigdyż?), “Memory” (Spomnienie) by M. Madejski, “Who does not know the hap-piness” (Kto szczęścia nie zna) by T. Papara, “Happy spouse” (Щасливий супруг) by M. Verbytsky); lyrical and philosophical reflection often related to parallels with nature images (“To the Neman” (Do Niemna) by Karol Lipiński, “Listen” (Послухай) by M. Ver-bytsky); heroic and patriotic trend (“Toast to Rus” (Тост до Русі), “Ukraine is still alive” (Ще не вмерла Україна) by M. Verbytsky, “Three stanzas” (Trzy strofy) by M. Madejski, “With smoke of fires” (Z dymem pożarów) by J. Nikorowicz); the most numerous group comprises songs of genre art, dancing and trifle sphere (“Hat” (Das Hüttchen), “You, terrible” (Du Schrecklicher) by F. X. Mozart, “Krakowiak” by J. Ruckgaber, “Why do you touch me?” (Нащо мене зачіпаєш), “Kasia” (Кася) by M. Verbytsky); folklore and traditio-nal songs, in which singing or dancing elements of native folklore origin are replaced with reinterpreted musical traditions of other nations (“Drinking song” (Trinklied) by F. X. Mozart, “Hungarian melody” (Угорська мелодія) by J. Ruckgaber, “Hey, rebel brothers” (Гей, браття-опришки) by M. Verbytsky); spiritual topics (“God in the storm“ (Gott im Gewitter) by F. X. Mozart, «Ave Maria» by J. Ruckgaber, «Ave Maria» by J. Nikorowicz). The author reconstructs objective socio-cultural and socio-historical backgrounds formed in Lviv in the first half of the 19th century; reviews chamber vocal works, shows the main principles of musical and historical heritage and substantiates the necessity of its actualization.