The role of the Italian period in the formation of Dmytro Bortnyansky’s composer style (on the example of chamber-instrumental works)

Abstract

The proposed article defines the role of the Italian period (1769–1779) in the development of individual composer style of D. Bortnyansky on the example of his chamber — instrumental works. Relations of chamber music of the Ukrainian composer with contemporary examples of chamber and instrumental works by B. Galuppi, J. Haydn and W. A. Mozart are considered. It is a scientific novelty that the chamber-instrumental works of the Ukrainian composer were first compared and analyzed in comparison with Western European models by J. Haydn and W. A. Mozart, taking into account the prerequisites and circumstances of writing these works, and tracing the influence of Italian culture on the artists. The evolution of chamber music in the work of B. Galuppi, a teacher of D. Bortnyansky, is traced, sources of influence on the music of the Ukrainian artist. It is the chamber-instrumental creativity as such that has not yet had examples in the National Composer School, which makes it possible to identify common and distinctive compositional techniques due to the influence of Italian music on the D. Bortnyansky. An important factor in the relevance of the study is also that, comparing the results of the Italian influence on all these authors, we see that the Ukrainian composer goes the same ways as the brilliant representatives of Austrian classicism, and comes to very similar results. This is confirmed both by the well-known standardization of classicist art and the fact that the work of the prominent Ukrainian composer D. Bortnyansky developed entirely in line with European art of the time. This conclusion seems to indicate the importance of research for Ukrainian musicology: an understanding of the affinity of creative and cultural processes in Western Europe and the territory of the Russian Empire: the cultural and artistic environment in Italy, and in Venice in particular, is extremely important, since its influence on D. Bortnyansky's creativity and work was quite significant.Quintet in C major for harpsichord, harp, violin, viola and gamba and cello (1787) and Sinfonia concertanto for seven instruments: two violins, viola da gamba, cello, harp and bassoon — organization (1790). These works are compared to Quintet W. A. Mozart for Clarinet, Basset Horn, Violin, Viola and Cello in F Major (1789) by KV 580b and Quartet by J. Haydn op. 33 No. 2 in E flat major. Due to the application of such methods as source studies, analysis, comparisons, comparisons, the study results were obtained: both common features of the works and differences in approaches to solving composer's problems were revealed. The results of the analysis are summarized and the nature of the influence of the cultural and artistic environment on the formation of the individual style of the artist is determined.