«КУЯВСЬКА ФАНТАЗІЯ» В. МАЛІШЕВСЬКОГО В РІЧИЩІ ДУХОВНО-ЕТИЧНИХ НАСТАНОВ ПОЛЬСЬКОГО НАЦІОНАЛЬНОГО ВІДРОДЖЕННЯ ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ
“KUYAVIAN FANTASY” BY V. MALYSZEWSKI IN REVIEW OF SPIRITUAL AND ETHICAL INSTRUCTIONS OF POLISH NATIONAL REVIVAL OF THE FIRST HALF OF THE XX CENTURY

Summary/Abstract: The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative.

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