The Role of Italian Periods of Maksym Berezovsky’s Life and Creativity in the Formation of Individual Musical Style
DOI:
https://doi.org/10.31318/2522-4190.2019.126.197976Keywords:
creativity of Maxim Berezovsky, Italian internship, chamber musician, individual musical style, concert “Ne otverzhi”Abstract
Relevance of the study. The periods of life-creativity of Maxim Berezovsky, connected with his stay in Italy, are studied. It turns out that there were two of such periods, although only one Bolognian is commonly known. The educational purpose of the Italian travels of M. Berezovsky is mentioned, their influence on the formation of the professional skill of a talented artist in the field of instrumental performances and composer creativity.
The purpose of our article is to study the processes of forming the professional skill of M. Berezovsky in the performing and composing industry, which affected the formation of an individual musical style, and the clarification of the role of the Italian periods in this process.
Methodology. The analysis of events is made on the basis of information from the lifelong documentary sources, the correct reading of which sheds light on the true scenario of the lifecreativity of M. Berezovsky. It is noted that the events of the two Italian internships fit in with the new biographical scenario and explain its individual details.
Results. It turns out that the first stay in Italy served as an accelerated growth of the performing arts of M. Berezovsky as a musician-instrumentalist, which affected his career at the court orchestras of St. Petersburg. It also appears that the formation and bright manifestation of the individual musical style in the field of spiritual music takes place before the beginning of the professional training sessions in Bologna, and that during the Bologna training, the artist mastered and perfected the Italian way of writing secular music. Substantiated evidences of the creation of a spiritual concert “Ne otverzhi mene vo vremia starosti” are provided in the last years of life, at the peak of professional maturity, and during the first Petersburg period until 1769, when M. Berezovsky was at a young age, and worked in orchestras of St. Petersburg.
Conclusions. Prospects for further study of a specified topic are the search for life documents with information on the creativity of M. Berezovsky and in a detailed study of the origins of the composer style of the artist in terms of the influences of creativity mentioned in the article by B. Galuppi, as well as composer A. Rachinsky — one of the first authors of spiritual concerts of a new style, with which the young M. Berezovsky contacted in Hlukhiv before he got to Petersburg.
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