Relevance of the study. The article studies recently found symphony of
the prominent Ukrainian composer of the second half of the eighteenth
century Maxim Berezovsky. He is widely known now as the author of cyclic spiritual concerts written for the Orthodox worship, and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The work of M. Berezovsky as a secular musician determined the creative interest in composing instrumental music intended for secular chamber and orchestral music.
Main objective of the article is a clarification of M.Berezovsky symphony
as one of secular field artworks in the light of new summaries about artist’s life-creativity.
Methodology. Taking into account peculiarities of the material and the
analytical approach to its study, the methods of theoretical research have been chosen(abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.).
Conclusions. As a result of a study the symphony analysis in a context of
new authentic statements about M.Berezovsky’s life-creativity. It was stated that this artwork was written not accidentally and detects absolute awareness of the artist in all composer’s niceties – how to build a topic and build a homophonic construction based on it, in a technique of orchestral construction, form creations of that time and etc. From the beginning of his creative career, M. Berezovsky was well aware of the possibilities of the orchestra as a performer, attached to the Italian opera and instrumental music. Symphony enriches our imagination about the works of M. Berezovsky in the field of secular instrumental and operatic music and extends the range of works of the artist beyond the spiritual direction. Some signs indicate that the Symphony was not an independent work, but an overture to the opera Demofont.
Review-essay of Kacey Link and Kristin Wendland, Tracing Tangueros: Argentine Tango Instrumental Music (Oxford, 2016)
