In Western Ukraine at the turn of the XIX-XX centuries. worked in various spheres of musical culture Stanislav Pylypovich Lyudkevich (1879-1979) - an outstanding composer, folklorist, musicologist, teacher, conductor, music and public figure. His aesthetic and creative principles, stylistic guidelines were formed mainly in the first decades of the 20th century.

S. Lyudkevich can be said in the same words he used to describe M. Lysenko: he had a public spirit. S. Lyudkevich was worried about the fact that his people were nationally enslaved, cheered for the development of Ukrainian musical culture. He was concerned about the insufficient professionalism of Galician composers, performers, music critics and musicologists. All of his highly professional, multifaceted activities contributed to the gradual development of Ukrainian musical culture, overcoming its provincialism and raising it to the European level. S. Lyudkevich at the beginning of the 20th century. - organizer, active participant in musical life. His critical articles influenced the musical consciousness of society. That is, S. Lyudkevich was at the center of the musical life of Galicia at the beginning of the 20th century, like M. Lysenko in the East of Ukraine (due to the prohibitions of the authorities, M. Lysenko's conditions of activity were more difficult).

S. Lyudkevich's compositional work is an outstanding phenomenon not only of Ukrainian, but also of European music in general. S. Lyudkevich treated M. Lysenko's musical heritage with piety. She was a model for him in creating a national identity in music. He, like M. Lysenko, carefully studied folklore and embodied its style in his work. He achieved national specificity not only by referring to folklore, but also by deeply feeling the national mentality, national character, which manifested itself in his music in heroic, lyrical and humorous spheres.

S. Lyudkevich managed to assimilate the achievements of the music of late European romanticism (the work of R. Wagner, F. Liszt, R. Strauss) and to show his author's originality in the late romantic stylistic direction. Although the national identity can be traced in all the works of the composer, they can be divided into two groups by theme, as in other romantics: in some works, folk-national themes prevail (folk-image sphere, national-liberation motifs), and in others - universal, typical of many romantics (love-lyrical sphere, etc.). S. Lyudkevich belongs to the Lysenki school, but individual stylistic features are clearly evident in his work. S. Lyudkevich's creative individuality is equally characterized by heroic and lyrical musical imagery. The heroic in him is often connected with the embodiment of the idea of national liberation. And in large canvases, the composer showed himself as a tribune artist (primarily in the cantata-symphony "Caucasus"). The lyrical sphere in his work is multifaceted, which is connected with love themes and images of nature.

In the work of S. Lyudkevich, like other Ukrainian composers of the beginning of the 20th century, the development of the individual-subjective factor and the emergence of neo-romantic features can be traced.

S. Lyudkevich often turned to the same ideas, themes, and images that M. Lysenko had, but they were revealed with a bright expression of the artist's individuality, with the expansion of musical imagery and stylistics, and with a new sensory spectrum. S. Ludkevich's music is emotionally charged. it is characterized by long emotional pressures, contrasts between the heroic and the lyrical. S. Lyudkevich is a master of large musical canvases (cantatas, symphonic poems), as well as tender lyrical miniatures (songs, romances, instrumental works).

S. Lyudkevich was born in the city of Yaroslavl in Galicia, on ancient Ukrainian lands, which then belonged to the Austro-Hungarian Empire and now belong to Poland. The composer's father was a gymnasium teacher, his mother was good at the piano and was his first teacher. S. Lyudkevich received his primary education at the Yaroslavl gymnasium (1891-1897). There, great importance was attached to the study of languages (Latin, Greek, German), as well as ancient and Western European literature. They also taught Ukrainian language and literature. In the gymnasium there was also an opportunity to practice music; there was a choir and an instrumental chapel. During his studies at the gymnasium, S. Lyudkevich began to compose music and wrote many works.

Moving to Lviv and studying at the Lviv University in 1898-1901 (specialized in Ukrainian philology) had a special significance for the development of S. Lyudkevich as a person and for his education. During this time, he was formed as a philologist. During his student years, he wrote the work "Panshchyna and its abolition in Russian-Ukrainian folk songs". At the beginning of the 20th century the magazine "Young Ukraine" published his investigation "On the basis and meaning of the song in the poetry of Taras Shevchenko". In this work, an important problem was raised for the first time, and the sound reasoning of the young researcher has not lost its relevance even in our time. Under the influence of the famous scientist-folklorist - teacher S. Lyudkevich at Oleksandr Kolessa University, the composer developed a scientific interest in Ukrainian folklore, which lasted throughout his life.

In 1902, S. Lyudkevich was elected a member In Western Ukraine at the turn of the XIX-XX centuries. worked in various spheres of musical culture Stanislav Pylypovich Lyudkevich (1879-1979) - an outstanding composer, folklorist, musicologist, teacher, conductor, music and public figure. His aesthetic and creative principles, stylistic guidelines were formed mainly in the first decades of the 20th century.

S. Lyudkevich can be said in the same words he used to describe M. Lysenko: he had a public spirit. S. Lyudkevich was worried about the fact that his people were nationally enslaved, cheered for the development of Ukrainian musical culture. He was concerned about the insufficient professionalism of Galician composers, performers, music critics and musicologists. All of his highly professional, multifaceted activities contributed to the gradual development of Ukrainian musical culture, overcoming its provincialism and raising it to the European level. S. Lyudkevich at the beginning of the 20th century. - organizer, active participant in musical life. His critical articles influenced the musical consciousness of society. That is, S. Lyudkevich was at the center of the musical life of Galicia at the beginning of the 20th century, like M. Lysenko in the East of Ukraine (due to the prohibitions of the authorities, M. Lysenko's conditions of activity were more difficult).

S. Lyudkevich's compositional work is an outstanding phenomenon not only of Ukrainian, but also of European music in general. S. Lyudkevich treated M. Lysenko's musical heritage with piety. She was a model for him in creating a national identity in music. He, like M. Lysenko, carefully studied folklore and embodied its style in his work. He achieved national specificity not only by referring to folklore, but also by deeply feeling the national mentality, national character, which manifested itself in his music in heroic, lyrical and humorous spheres.

S. Lyudkevich managed to assimilate the achievements of the music of late European romanticism (the work of R. Wagner, F. Liszt, R. Strauss) and to show his author's originality in the late romantic stylistic direction. Although the national identity can be traced in all the works of the composer, they can be divided into two groups by theme, as in other romantics: in some works, folk-national themes prevail (folk-image sphere, national-liberation motifs), and in others - universal, typical of many romantics (love-lyrical sphere, etc.). S. Lyudkevich belongs to the Lysenki school, but individual stylistic features are clearly evident in his work. S. Lyudkevich's creative individuality is equally characterized by heroic and lyrical musical imagery. The heroic in him is often connected with the embodiment of the idea of national liberation. And in large canvases, the composer showed himself as a tribune artist (primarily in the cantata-symphony "Caucasus"). The lyrical sphere in his work is multifaceted, which is connected with love themes and images of nature.

In the work of S. Lyudkevich, like other Ukrainian composers of the beginning of the 20th century, the development of the individual-subjective factor and the emergence of neo-romantic features can be traced.

S. Lyudkevich often turned to the same ideas, themes, and images that M. Lysenko had, but they were revealed with a bright expression of the artist's individuality, with the expansion of musical imagery and stylistics, and with a new sensory spectrum. S. Ludkevich's music is emotionally charged. it is characterized by long emotional pressures, contrasts between the heroic and the lyrical. S. Lyudkevich is a master of large musical canvases (cantatas, symphonic poems), as well as tender lyrical miniatures (songs, romances, instrumental works).

S. Lyudkevich was born in the city of Yaroslavl in Galicia, on ancient Ukrainian lands, which then belonged to the Austro-Hungarian Empire and now belong to Poland. The composer's father was a gymnasium teacher, his mother was good at the piano and was his first teacher. S. Lyudkevich received his primary education at the Yaroslavl gymnasium (1891-1897). There, great importance was attached to the study of languages (Latin, Greek, German), as well as ancient and Western European literature. They also taught Ukrainian language and literature. In the gymnasium there was also an opportunity to practice music; there was a choir and an instrumental chapel. During his studies at the gymnasium, S. Lyudkevich began to compose music and wrote many works.

Moving to Lviv and studying at the Lviv University in 1898-1901 (specialized in Ukrainian philology) had a special significance for the development of S. Lyudkevich as a person and for his education. During this time, he was formed as a philologist. During his student years, he wrote the work "Panshchyna and its abolition in Russian-Ukrainian folk songs". At the beginning of the 20th century the magazine "Young Ukraine" published his investigation "On the basis and meaning of the song in the poetry of Taras Shevchenko". In this work, an important problem was raised for the first time, and the sound reasoning of the young researcher has not lost its relevance even in our time. Under the influence of the famous scientist-folklorist - teacher S. Lyudkevich at Oleksandr Kolessa University, the composer developed a scientific interest in Ukrainian folklore, which lasted throughout his life.

In 1902, S. Lyudkevich was elected a member Ethnographic Commission of the Scientific Society named after Taras Shevchenko, in which I. Franko took an active part. On behalf of this commission, during 1901-1903, S. Lyudkevich transcribed two thousand Ukrainian folk songs, which were recorded for the first time in Ukraine on a phonograph by the folklorist Yosyp Rozdolskyi. From these songs (1544), S. Lyudkevich prepared for publication a two-volume collection entitled "Galician-Russian Folk Melodies", published in 1906-1907. This is a unique publication that covers a huge array of musical folklore of Galicia.

The atmosphere of Lviv, which was the center of Galicia and where political, social and cultural life was concentrated, had a positive effect on S. Lyudkevich. In this city at the beginning of the 20th century. activated social and national

but the liberation struggle. S. Lyudkevich was among the students who united in the "Academic Community" society. The youth of this association maintained close ties with I. Frank, who had a significant influence on her upbringing. During this time, the views of S. Lyudkevich as a patriot and democrat were formed. Devotion to the Ukrainian idea, cheering for the fate of Ukrainian culture and active activities aimed at its development became defining features of his personality. This led to his versatile activity.

S. Ludkevich improved his musical education in Lviv. As a free listener, he attended the lectures of the director of the Polish Lviv Conservatory, the composer Mechyslaw Soltys, and received individual consultations from him. During his military service in Vienna (1903-1904), S. Lyudkevich had the opportunity to attend concerts at the Philharmonic and performances at the opera house. He listened to the works of Richard Strauss, Gustav Mahler, and others. For the second time, S. Lyudkevich came to Vienna specifically to obtain a proper musical education. During his one and a half year stay in Vienna (1907-1908), S. Ludkevich significantly enriched his musical knowledge. He became a student at the Music and History Institute, which worked on the basis of the philosophy faculty of the University of Vienna. This institute was founded by Guido Adler, head of the Viennese school of musicology, and S. Ludkevich listened to his series of lectures. In addition, S. Ludkevich privately engaged in composition and instrumentation with the Austrian composer and conductor Oleksandr Tsemlinskyi, who was also A. Schoenberg's teacher. S. Ludkevich also took a conducting course at O. Zemlinskyi. O. Zemlinsky encouraged the young artist to modernize his style, although not in the direction of atonal music. S. Ludkevich attended the concerts of A. Schoenberg and other Viennese composers with O. Zemlinsky. [Stunder 3. Stanislav Lyudkevich. Life and creativity. - Vol. 1. - Lviv, 2005. - P. 192.]

In Vienna, S. Ludkevich studied polyphony with institute professor Herman Gredener, attended lectures on the analysis of musical forms with Alfred Orel, studied paleography, etc. In the middle of 1907, S. Lyudkevich read a report on the Slavic song form at the Music Institute. In Vienna, he wrote the dissertation "Two Reasons for the Development of Sound Imagery", which considered the problem of programming in music based on the material of Western European and Ukrainian music. G. Adler, as the scientific supervisor of the dissertation, gave it a favorable assessment. On the basis of the exams and dissertation, S. Ludkevich was awarded the scientific degree of doctor of philosophy in the field of music (1908).

S. Lyudkevich wrote many musicological works and became one of the founders of Ukrainian musicology. His first articles appeared at the beginning of the 20th century. in the art magazine "Artistic Herald" for 1905, which he edited together with the artist Ivan Trush.

At the beginning of the 20th century S. Lyudkevich became an active musical and cultural figure. His performances as a choir conductor (in the choirs of "Lviv Boyan", "Sokil" society) were numerous, starting from his student years. Choral concerts directed by S. Lyudkevich contributed to the spread of Ukrainian choral music in the territories of Eastern Galicia.

The activity of S. Lyudkevich as an organizer of Ukrainian musical education in Galicia was important. He was one of the initiators of the founding of the M. Lysenko Higher Music Institute in Lviv in 1903. Since 1910, he worked as the director of this institute, taught music-theoretical disciplines there. The activity of S. Lyudkevich in the 1920s and 1930s as an inspector of the Higher Music Institute was significant. He participated in the organization of branches of the institute in many cities of Western Ukraine. This was of great importance in the spread of musical education in these lands.

S. Ludkevich's compositional work was very fruitful at the end of the 19th and the beginning of the 20th centuries. Until the 20s of the XX century. he wrote many (over a hundred) works in various genres.

Already from the early period of creativity, the leading theme for S. Lyudkevich was the people's struggle for freedom. In 1898, he wrote the chorus "Eternal Revolutionary" to the text of I. Franko. This piece was performed at the anniversary evening dedicated to the poet. The composer sought to reveal the idea of national liberation using the example of the history of the Jewish people in the opera "Bar Kochba", which he began writing in 1901, but it remained unfinished. In 1905, under the influence of political events in Russia, S.