Representatives of Teodor Leszetycky’s school in the concert space of Kyiv in the 80<sup>s</sup> of the 19<sup>th</sup> Century (on the stuff of periodicals)

Abstract

Relevance of the study. Kyiv Piano School is a complex phenomenon, due to interaction with other cultures and ideological principles masters of a certain age. The study and comprehension of the creative principles of the well-known figures of the past, founders of the performing schools make it possible to analyze their influence on the formation of the Kyiv piano school, to trace the connection of the past practices with the modern educational process.Theodore Leshetitsky (1830–1915) – a representative of the Viennese piano tradition, a student of the famous teacher K. Cherni. T. Leshetitsky lived in Russia for a long time, from 1862 to 1878 he taught at the Saint Petersburg Conservatory, and in 1878 returned to Vienna, where he continued his pedagogical work. Among the pupils of T. Leshetitsky are A. N. Yesipova, I. Y. Paderevsky, A. Schnabel, I. Friedman, J. Gabrivilich, M. Hamburg, G. Galston, V. I. Safonov, and others. Representatives of the school of T. Leshetitsky, who in the 80s of the 19th century principally taught at the Kiev music school – V. V. Pukhalsky, G. K. Khodorovsky, S. A. Brikner, S. M. Blumenfeld, M. Tutkovsky – laid the foundation for the Kiev piano school. The revival of the musical culture of Kiev was also introduced by the performances of T. Leshetitsky’s students: А. N. Yesipova, V. I. Safonov, D. D. Klimov.Creative way of representatives of the T. Leshetitsky school in the concert life of Kiev 80s of the 19th century still didn’t become a subject of a separate study, it is this factor that determines the relevance of the article.Main objectives is to consider the pedagogical principles of T. Leshetitsky through the prism of the concert and pedagogical activity of his students, in particular, V. V. Pukhalsky, G. K. Khodorovsky, A. N. Yesipova, V. I. Safonov, and little known today S. A. Brikner in Kiev 80s years of the 19th century. The proposed material is based on archival newspaper sources of the V. I. Vernadsky National Library of Ukraine, some of them are involved in scientific research for the first time.The methodological basis of the study consists of: the method of historical reconstruction (collection, adaptation of information, study and analysis of materials); structural-functional method that allows us to trace the constituent notions of “piano school”, to analyze the influence and interconnections in the “teacher-student” link; diachronic and synchronous methods that make it possible to see the process of development of piano performance both in the historical perspective and in a distinct section of time; system method (combines data obtained from various fields of knowledge and allows you to see the piano performance as a whole): a comparative method that allows you to match the individual piano mastery settings of different performers.Findings and conclusions. T. Leshetitsky’s long pedagogical activity speaks of unconditional authority of the maestro in the world of art. He influenced the development of both piano performances in general, as well as the formation of individual regional schools, in particular, Kyiv. Concert and pedagogical activity of the pupils of T. Leshetitsky in Kyiv contributed to the revitalization of the cultural life of the city, enhancement of its professional level and international status.Today, most of the pedagogical principles of T. Leshetitsky are considered the basis of Ukrainian piano performance. The rapid splash of world pianism in the 20th century, and in Kiev, in particular, was largely prepared by the experience of the school of T. Leshetitsky.