К ВОПРОСУ СТИЛЯ ЮЗЕФА КОФФЛЕРА (НА МАТЕРИАЛЕ КАМЕРНО-ИНСТРУМЕНТАЛЬНЫХ СОЧИНЕНИЙ) ON THE QUESTION OF JOZEF KOFFLER’S STYLE (BASED ON THE CHAMBER-INSTRUMENTAL WORKS)
The cultural life of Lviv attracts attention with its multi-ethnic public structure, which is
reflected in all musical institutes of the city. It gives a broad picture of the circumstances in
which the Polish composers worked, since the multicultural alloy influenced their work. An
important figure in the musical culture of Lviv in the first half of the twentieth century was
Jozef Koffler (1896-1943), an undeservedly forgotten artist in the history of Western Ukrainian
music culture. The historical significance of his artistic heritage for Ukrainian and Polish
art cannot be overestimated, since the composer becomes a pioneer of new ideas for the
development of the musical language, not only the first but also the only Polish composer,
developed dodecaphonic technique.
Chamber-instrumental creativity of the composer is indicative for demonstrating the constant
renovation of the artist’s style. Trio for violin, viola and piano op. 10 is a work by which
J. Koffler manifests his creative maturity. Opus demonstrates a new attitude to the twentytones
– aesthetics become more important than techniques. String quartet Ukrainian sketches
op. 27 testifies to the paralysis of creative forces, which is characterized by the inability to
create new style qualities. In the context of the composer’s creativity, the folklore of this
opus is perceived as an obvious anachronism
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