Due to the fortunate fate, the Cossack clan of the registered Cossack from Chernihiv region Hryhory Rozum, gained fame and gained respect not only in his homeland, but also in Europe. Several generations of representatives of this famous family, constantly working and improving, having achieved glory and greatness, have done much for the development of culture. A large collected library of notes of the 18th – the first half of 19th centuries reveals the treasures of the musical culture of the past to the present generation (Ivchenko L.V. Reconstruction of the musical collection of Count O.K. Rozumovsky for catalogs of the ХVІІІ century). Habsburg Empire in the 18th century was a huge power, which included many annexed, conquered countries, the population of which consisted of different nationalities. Vienna, the capital of Austria, which was considered the cultural center of Europe, drew attention of many artists led by a desire to become famous, while others were overwhelmed by the desire to gain high professionalism due to the fact that the most authoritative and prominent representatives of the musical elite from all over Europe gathered in Vienna (Svyrydenko N.S. Viennese mechanics as a development level of the piano construction). A special role in the cultural life of Austria was played by Czech musicians. In fact, they were formally in their own country taking into account that the Czech Republic was a part of Austria, but their special musicality, the desire for singing in the game, even in the most complex virtuosic works, the Czech melos in elegant presentation and the special charm of the performing style made a special impression. The works that they composed attracted great attention. The Six sonatas of Benda I.A. for harpsichord, as well as for pianoforte, and the Three sonatas of Koheluh Leopold dedicated to Princess of Lichtenstein from the Rozumovsky musical collection are of great interest from the point of view of the formation of the sonata form, as a new genre anticipating the appearance of the classical Viennese sonata form, as well as for studying in the piano class and in concert practice the features of its composition, understanding of the style of high artistic merits (Svyrydenko N.S. Historical aspects of the comprehension of musical culture ХVІІ – ХVІІІ cent.). The change in keyboards in Austrian cultural life is also interesting: the harpsichord is replaced by a new keyboard instrument – pianoforte. The path to his invention was difficult and not always successful, and if a successful invention of the Italian harpsichord master Kristofori B. did not go through the hands and heads of German and Austrian masters, the fate of this instrument would have been less successful (Dolmetsch Arnold. The Interpretation of the Music of 17th and 18th Centuries). Several generations of Austrian masters, Stein and Streicher due to the invented "Viennese" mechanics achieved perfect sound with flexible dynamics in their instruments, which served as an incentive for a whole generation of Viennese classical school composers to be creative (Harding, Rosamond E.M. The Piano-Forte: Its History Traced to the Freat Exibition of 1851).Over the years Viennese mechanics have been replaced by more modern instruments with improved mechanics corresponding to a virtuoso sophisticated technique, but now, when the Viennese classics sound, the Viennese pianofortes preserved in museums or recreated copies reappear and then there is a celebration of the High Culture of Austrian art supported by the efforts of many concerned folks.