THE PERSONALITY OF EUSEVII MANDYCHEVSKY IN THE PERSPECTIVE OF THE HISTORY AND MUSICAL CULTURE OF BUKOVINA

Abstract

The purpose of the article is to study scientific research on the history of Bukovyna and the work of Yevseiv Mandychevsky as a representative of this region. The scientific novelty is that a musicological analysis of Ye. Mandychevsky's piano work «Gavotte» has been carried out in comparison with genre analogues of F.Couperin and J.-B. Lully from the perspective of stylistic specificity. Conclusions. The creative personality of E. Mandychevskyi is presented in the history and musical culture of Bukovyna based on the study of modern research on the history of the region in the 19th century with the specificity of the Ukrainian national revival through the ideas of nationalism, the influence of the all-Slavic revival, the reflection of the circumstances of the territorial and political structure of the region in the 19th century on the development of Arts (V. Filipchuk, S. Frunchak). The result of this was the intensification of the work of artists of various fields, in particular musical art, for example, the work of E. Mandychevsky with a concentration on the piano work «Gavotte». The life and work of Ye. Mandychevskyi were studied by foreign and Ukrainian researchers (V. Akatrini, Ya. Vyshpinska, S. Gerun, O. Zalutskyi, K. Kaluga, Yu. Kaplienko Ilyuk, L. Kiyanovska, A. Kushnirenko, A. Norst, Kh. Preda Shimek, D. Friesenegger, O. Yatskiv). For the analysis, among others, a comparative analysis was used, which made it possible to single out features characteristic of baroque and romanticism, inherent in the work of E. Mandychevsky. The title of the work refers to the Baroque period, and the dance itself became a ballroom with melodic-harmonic simplicity and rhythmic sophistication. In the era of romanticism, the period of creativity of the composer, a native of Bukovyna, this genre mainly preserved the simplicity and clarity of the structure, which is specific to classicism. In Mandychevsky's «Gavotte», there is an expansion of the form at the end of the first and third movements due to a two-beat cadence reversal built on the motif of the sequence. The second part has an active development character. The influence of romanticism is felt in the individualized melody and harmony of the miniature.