Віденський fin-de-siecle та його рецепція у творчості Станіслава Людкевича
Viennese fin-de-siecle and its Reception in the Creativity of Stanislav Lyudkevych

Summary/Abstract: The purpose of the article is to reveal the characteristic features of the "Viennese modern" in the musical culture of Galicia at the beginning of the 20th century; to trace on the example of S. Lyudkevych's early works written on the texts of T. Shevchenko, how the aesthetics of the fin-de-siecle influenced the constructing of the national Ukrainian identity in the Galician musical art. The methodology of the research is based on general scientific methods of cognition: historical and genetic, which consists in revealing the genesis of phenomena; culturological, which reveals the contexts of the origin of the objects under study; musical-analytical, which reveals the immanent properties of works. The scientific novelty lies in understanding the aesthetics of the Viennese fin-de-siecle, which essence is determined by the atypical combination of provincialism and cosmopolitanism, traditionalism and modernism. It is alleged that the Viennese fin-de-siecle stimulated the national style-building process in the Galician music culture of the early twentieth century. For the first time in the context of the aesthetics of the Austrian fin-de-siecle, the choir "Kosar" and the symphony-cantata "Caucasus" by S. Lyudkevych written on the texts of T. Shevchenko's poetry are considered. Conclusions. The construction of national identity in the Galician musical culture of the fin-de-siecle period is closely related to the processes that took place in the intellectual and cultural life of the Austro-Hungarian monarchy. An example is the early work of S. Lyudkevych, whose neo-romantic concept that "was based on a spiritual, "liberating" impulse, is an example of a new reading of Shevchenko's poetic texts through the prism of the aesthetics of the Viennese fin-de-siecle.

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