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1

УКРАИНСКО-ПОЛЬСКИЕ МУЗЫКАЛЬНЫЕ КОНТАКТЫ В КОНТЕКСТЕ КУЛЬТУРНОЙ МНОГОСОСТАВНОСТИ АВСТРО-ВЕНГЕРСКОЙ МОНАРХИИ

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Новакович М.

Ars inter Culturas

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2018

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vol. 7

89-102

EN

The article touches upon the problem of Ukrainian-Polish musical contacts in the context of the cultural diversity of the Austro-Hungarian monarchy. It is confirmed that the complexity of the topic lies in the need to comprehend two different cultural traditions and their contexts, as well as in an attempt to discover the true structures of these relationships. It is noted that the defining feature of Ukrainian-Polish cultural relations in the first half of the nineteenth century were not professional contacts between Polish and Ukrainian music, but the connection of culture with culture and Polish music with Ukrainian culture. The result of these contacts was the use of Ukrainian folklore by Polish composers. Particular attention in the article is drawn to the fact that the Galician burgher culture formed the same lifestyle and common values, and was also a homogenizing factor among the heterogeneous population of the region. This gives grounds to speak of the existence of a layer of musical unconscious common to the peoples of Galicia, which was spontaneously used in the then composer’s practice. It was borrowed mainly from German and Polish cultures, which music, due to certain circumstances became an integral part in the system of musical thinking of Galician amateur composers. In this context, the patriotic choral works of Ukrainian music by M. Verbytsky are considered, in which he often uses intonations and rhythms borrowed from the Polish music.

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К ВОПРОСУ О МУЗЫКАЛЬНОЙ КУЛЬТУРЕ ПШЕМЫСЛЯ ПЕРВОЙ ПОЛОВИНЫ ХІХ ВЕКА

100%

Новакович М.

Ars inter Culturas

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2016

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issue 5

305-316

EN

The article is devoted to the musical life of Przemysl, which in the first half of the nineteenth century was the area of cultural borderland, where different cultural identities were constructed, particularly Ukrainian. In the Greek Catholic Church the singing school was established, and in 1829 the choir, headed by wellknown Czech composer Alois Nankе was formed. An example for Nankе and his students, among whom was the famous Ukrainian composer subsequently M. Verbitsky, were spiritual choral concerts of the famous Ukrainian composer D. Bortniansky. The music by Bortniansky became an excellent example of creativity for Ukrainian composers of the nineteenth century in Galicia.

3

Моцартовский фестиваль во Львове

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Новакович М.

Ars inter Culturas

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2019

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vol. 8

335-340

EN

This article discusses the importance of hosting the LvivMozArt Festival in Lviv (Ukraine). It is shown how within the short period of its existence (three years) the festival has tended to develop rapidly and received meaningful sponsorship. Attention is focused on its art director and founder, conductor Oksana Lyniv, who has set herself the goal of organizing a classic festival with non-standard formats, but with a high-quality performance of classical music. It is noted that a distinctive feature of the LvivMozArt festival is the combination of different formats: live art performance, academic symposium, chamber and symphony concerts, and opera. This article analyzes the literary bias of the academic symposium entitled “Literary Impressions in Music”, which was attended by prominent scholars from Ukraine, Austria, Germany and Poland. It is argued that the biggest event of the festival was its opening. The concert was dedicated to the 125th anniversary of the birth of the Austrian writer Joseph Roth and the memory of the Holocaust victims.

4

Польские образы Бориса Лятошинского

100%

Новакович М.

Ars inter Culturas

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2020

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issue 9

49-62

EN

This article examines the connections of the outstanding Ukrainian composer Boris Lyato-shinsky with Polish culture of the 20th century. These connections can be traced at the genetic level and in the context of his music from the 1950s and 1960s. It is argued that the Polish theme forms a kind of supercycle in the composer’s work, which symbolizes the memory of culture and unites a number of his works with Polish themes. These include the piano “Slavic Concerto” by B.Lyatoshinsky, the symphonic poems “Grazhina” and “On the Banks of the Vistula,” and the “Polish Suite” for a symphony orchestra. This supercycle is associated with the “memorial” genre, which actualizes the “memory” mechanism. In this case, we are talking about the “Polish memory” of B. Lyatoszynski, a characteristic feature of which is the connec-tion with the Polish musical culture, which is present in his works at the intonation, genre, and conceptual level.

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4 Новакович М.

УКРАИНСКО-ПОЛЬСКИЕ МУЗЫКАЛЬНЫЕ КОНТАКТЫ В КОНТЕКСТЕ КУЛЬТУРНОЙ МНОГОСОСТАВНОСТИ АВСТРО-ВЕНГЕРСКОЙ МОНАРХИИ

К ВОПРОСУ О МУЗЫКАЛЬНОЙ КУЛЬТУРЕ ПШЕМЫСЛЯ ПЕРВОЙ ПОЛОВИНЫ ХІХ ВЕКА

Моцартовский фестиваль во Львове

Польские образы Бориса Лятошинского