VOCAL WORKS OF FRANZ XAVER MOZART IN THE FUNDS OF THE LIBRARY OF THE LNAM NAMED AFTER M. V. LYSENKO

Abstract

The article is devoted to the review of editions of vocal compositions by FK Mozart from the archives of the library of the Lviv National Academy of Music. MV Lysenko in source studies and genre aspects. The analysis of the available music editions gives grounds for observations on the public demands of his time, genre varieties, poetic priorities of the artist, personal contacts with leading publishers in Europe and more. This area of creativity is represented by various varieties: German song, romance, elegy, vocal cycle, vocal ensemble for male and female voices with accompaniment and a cappella. The artist’s works were performed for performers of different levels, they demonstrate a deep understanding of the potential of the recipients, the peculiarities of the vocal nature of sound and phrasing, patterns and possibilities of the relationship between singing and accompaniment. His works were published in leading publishing houses in Vienna, Dresden, Leipzig as independent publications, as well as in the form of separate publications of single compositions in mass periodicals (usually during the composer’s stay in Vienna). In each of the genres to which the artist refers, there is a deep understanding of the potential of the poetic basis, the conformity of the choice of means to the style and content of the text. Compositions focused on Biedermeier principles of family music making are solved in the most accessible textual and formative means. Instead, the composer’s reading of world-class poetry (F. Grillparzer, J. Byron) leads to a deep penetration into the intonation and emotional-semantic sphere and selection for its interpretation of exceptionally accurate means of expression, which testify to the bright melodic talent and harmony with advanced . Vocal ensembles are addressed to trained performers, so they are distinguished by the richness of interaction of developed vocal parts (imitation, counterpoint, isortimic-chord, undertone, texture techniques Liedertaffel), developed tonal-harmonic plans, bold intervals, rich and varied interplay, rich and varied interplay. Most of these works originated in the Galician period of the artist’s work and thus provide an opportunity to reveal more deeply the traditions of our region’s performance through the prism of his extensive European experience.