TOPOS OF VIENNA AS A PLACE OF DEPLOYMENT OF MEANINGS IN THE MUSICAL CULTURE OF THE HABSBURG GALICIA

Abstract

The article deals with separate geographically defined places connected with the spaces of national cultural memory. It is alleged that these are "places of memories" that became centers of cultural and spiritual life of Ukrainians outside Ukraine. It is stated that for the Ukrainians of Galicia, Vienna remained a "memorable place" during the nineteenth century. As the main city of the Austro-Hungarian Empire, Vienna was a model for imitation and contributed to the expansion of social structures in Galicia, which became the means of organizing here artistic life. The concept of the "topos of Vienna" is considered through the prism of the categories of sacred / profane, as a sacred music city, associated primarily with the name of VA Mozart. The author analyzes the cantata "The Testament" of Verbytsky, written on the text of the eponymous verse by T. Shevchenko. The composer sought appropriate musical expressions outside the national sphere, so the orchestral introduction to the "Testament" reminds the beginning of the overture to Mozart's "Don Juan", with a particularly sharp dynamic contrast, which symbolizes two worlds - the dead and the living. The influence of Mozart on the creativity of the composers of the Przemysl School is due to their particular attitude to the tradition. After all, Mozart was for them theembodiment of the high classical canon, and not just classicism as a style. It is noted that the Austrian military coloured entertaining music was directly related to the work of M. Verbytsky. The composer used elements of military musical rhetoric in his orchestral works. It is alleged that for the Galician musicians of the last quarter of the nineteenth century exemplary was the work of F. Schubert. An example of such influence is the song by O. Nyzhankivsky "The Past of the Year of Youth "by the words of T. Shevchenko. A model for the composer could be the song of Schubert "Premonition of a Warrior" from his last cycle "Swan Singing". The basis of the work is the contrasting comparison of two figurative spheres: gloomy foreboding and light memories. The article also examines the period of Viennese fin-de-siecle and its influence on the work of S. Lyudkevych. It is noted that the characteristic signs of fin-de-siecle are present in the Caucasus symphony cantata. After all, it combines the spirit of Wagner's greatness with the indisputable optimism of Bethoven's "Ode to Joy".