Traditions of Biedermeier in the Galician musical culture of the XIX century

Abstract

The musical art of Galicia in the first half of the XIX century is considered in the context of the Austrian cultural multidivision represented by the Biedermeier period. As an artistic style and epoch, Biedermeier is a product of the Austro-Germanic tradition, uniting composers with different stylistic manners. There is a Biedermeier musical canon, formed by the genres of the song, a lyrical piano play, a genre scene in the singspiel, etc. The article raises the problem of the Biedermeier relation to the tradition, which is well traced on the example of the Galician composers of the first half of the XIX century. It is noted that the creative personality of D. Bortnyansky became the high canon for the then Galician musical culture. Biedermeier did not offer musical and aesthetic declarations, primarily determined at the level of institutions, in particular the musical choral societies Liedertafel. It is analysed that in Liedertafel’s manner, most of the choral secular works of M. Verbitsky, I. Lavrivsky and their followers are written. They include songs of idyllic and landscape nature. The reason for their writing was the experience of their perception by the then public. The popularity of the Austrian-German Liedertafel music in the Galician-Ukrainian environment is the result of the response that she found in the local listening audience. In the process of analyzing the works of M. Verbitsky, I. Lavrivsky and composers of the younger generation, semantic codes were revealed that correspond to the existential perception of the world by Galician recipients of the middle of the XIX century and also to their musical tastes