LITURGICAL CYCLE I. LAVROVSKY IN THE CONTEXT OF STYLISTIC CHANGES IN THE ARTIST’S WORK

Abstract

The article deals with the stylistic features of Ivan Lavrivskyi’s church choral works of the Przemysl- Lviv and Kholm periods. A number of reasons of a social, political, religious, and cultural nature are revealed, which, in synthesis with certain aspects of the composer’s personal biography, influenced the fact that his liturgical heritage is little known and insufficiently studied today. The methodology of the work is based on the use of historical, cultural and theoretical methods. It is noted that the found church choirs of the author, which were first arranged in the form of a liturgy and published in 2023, are presented in accordance with the structure of the liturgical cycle, and not the chronological sequence of their composition. It is noted that in the liturgical compositions of I. Lavrivskyi, which belong to the early period of his work, the influences of his predecessors, as well as the aesthetics of classicism, are noticeable, which are significantly weakened in the later period of his work. The stylistic differences between the composer’s church works and examples of the same genre created by his mentors, older contemporaries, who were more likely to imitate Dmytro Bortnyansky, are revealed. An analysis of I. Lavrivsky’s liturgical compositions was made, including – «Sviatyi Bozhe», «Mnohaia lita», «Is polla eti despota», «Kheruvymska», «Mylost myra», «Dostoino i pravedno yest», «Sviat, Sviat, Sviat», «Tebe poiem». It is noted that a significant part of the compositions of the liturgical cycle (eleven pieces out of fourteen) of the artist is written in a major key, which is evidence of connections with the classical style, the features of which were also characteristic of Mykhailo Verbytskyi’s work. The influence of the aforementioned style is clearly evident in the choral composition «Mnohaia lita» at the level of certain harmonic formulas, in particular in the cadence episodes. It is noted that the church choirs created by the composer during his stay in Kholm differ both from his own works of the early period and from the examples of European church music of that time. Despite the fact that I. Lavrivskyi is a representative of the Przemysl era, his church choral works mark a new transitional era in Galician musical culture.