CZECH MUSICIANS AT THE BEGINNINGS OF PEREMYSHL SCHOOL OF COMPOSERS

Abstract

The figure of the Czech musician Alois Nanke is revealed, whose conductor’s and composer’s activity in the late 20 – early 30-ies of the nineteenth century was connected with Peremyshyl. Music analysis of liturgical sacred music by Alois Nanke is considered to be the creator of Przemysl school of compositors. The works created by Alois Nanke had a significant impact on further development of the Galician musical culture of the mid-nineteenth century. The liturgical compositions by Alois Nanke created in Peremyshyl period, is the key to understanding M. Verbitsky music as he was the first who had the fate to adapt the concert style of high spiritual works by Bortniansky for the liturgical needs of the Greek Catholic Church. The liturgical compositions which Alois Nanke created in Peremyshyl, along with the works by Bortniansky and Verbitsky formed the basis Galician church choral repertoire of 19th – early 20th century. Nowadays the only source that makes it possible to learn more about the choral heritage of Alois Nanke remains the score of church hymns and secular songs concluded O.I.Kypriyan and published in 1882 in Lviv. It should be noted that most of the collection are compositions by Bortnyansky, but also the fragments of liturgy by Verbitsky and some works by Alois Nanke are met. As for the features of Alois Nanke’s composing manner, according to his biographers, was primarily a violinist, conductor and orchestral quartet member. Therefore instrumental type of thinking is his native, that is felt in his compositions for choir. Austrian musician was brought up on the principles of classical aesthetics, including the period of Sturm und Drang, the rhetoric of musical expression is rooted days baroque opera and some forms of instrumental music of that era. This, in particular, indicates the presence of certain rhetorical figures, such as our suspi-ratio, ehclamatio, etc. The themes of his church compositions are characterized by elegance and gallantry, but they do not have that sensitivity and discernment, which distinguishes resis-tivity Ukrainian melodies, not to mention the presence in it of Ukrainian intonation phrases.