THE LITURGICAL CREATIVITY OF IVAN LAVRIVSKY IN THE CONTEXT OF SECULA-RIZATION OF RELIGIOUS AND CULTURAL LIFE OF GALICIA IN THE MIDDLE OF 20TH CENTURY

Abstract

The work of I. Lavrivsky, the younger contemporary of M. Verbitsky, is considered in the context of further secularization of the religious and cultural life of Galicia. As a representative of the Peremyshl Composite School, I. Lavrivsky felt the influence of secular music of the German and Italian composers of the Biedermeier era The consequence of this was the simplification of the musical language and the form of hes church compositions, penetration into the spiritual music of the intonations of the secular song. Some of the liturgical compositions of Lavrovsky inherited musical-expressive means of the composers of the age of Viennese classicism as well as Italian and French opera schools of the early nineteenth century. In this context, we can mention the church works of Rossini, Schiedemeyer and Diabelli, as well as the operas of the French composer F. Herod. Thus, one of the most famous works of Lavrovsky, the choir "Eternal memory", full of melizematic ornaments in the style of early Italian romanticism, and the melody of the initial stages of the chanting "Christ is Risen", causes an allusion to the duet from the opera Gerald "Zampa".