EARLY ROMANTIC AND BIEDERMEIER TRADITIONS IN LUIGI BOCCHERINI'S QUINTETS

Abstract

The aim of the work is tracing of stylistic characteristics of early romanticism and Biedermeier in Luigi Boccherini’s Quintets, including piano ones. The methodology is based on the intonational approach of Boris Asafiev’s school in Ukraine with special emphasis on stylistic comparative, cultural, and hermeneutic methods in the development of positions that were developed by A. Losev, V. Medushevsky, and Y. Lotman. Scientific novelty is determined by the fact that for the first time in the Ukraine Luigi Boccherini’s Quintets became the subject of scientific analysis in line with the numerical symbolism, as well as by the original theoretical idea of crossing of early romantisism and Biedermeier stylistic indicators in them. Conclusions. Luigi Boccherini’s Quintets have become a substantive symbol of the ItaloFrench line of chamber instrumentalism, which defined before-Biedermeier, Biedermeier as such and early romanticism parallel making the way to opening the Viennese classics. Typology of the quintet amounted to an outright opposition to Viennese quarterness – including in the form of fundamental chamber music sounding. The absolute plenitude of Boccherini’s quintets set up the genre model of the before-Biedermeier and Biedermeier quintet.