Outstanding Musicians Research Articles

Formation Of The Fundamental Principles Of Lev Venediktov's Creativity In The Performing Activities Of The Song And Dance Ensemble At The Kiev Military District

The little-studied period at the beginning of Lev Venediktov's creative activity in the Song and Dance Ensemble at the Kyiv Military District is considered. The scale of personality and creative work of an outstanding musician, brilliant choirmaster, conductor, teacher, artistic director of a well-known ensemble is studied. The ways of formation of professional skill of the artist, gradual formation of his individual creative method are analyzed. The influence of the Master’s personality on the professional growth of the team, education of a galaxy of talented youth, which is now the golden fund of Ukrainian culture — outstanding choirmasters, conductors, musicians, teachers, state awards, degrees, honorary titles. The peculiarities of the creative atmosphere, the moral climate in the team, the motivation of its participants to achieve significant artistic goals are described. The specific nature of the artistic director's activity during the preparation and conducting of the band's tours in Ukraine and abroad is revealed. The basic principles of the Master 's creative activity, which received their further development in the conditions of the Kyiv Opera House, are determined. His personnel policy, which was distinguished by a personal individual approach to the formation of the team is outlined. The specifics of Lev Venediktov's repertoire policy in the ensemble, its multi-vector approach with the presence of works of army patriotic, modern themes, Ukrainian folk songs, classical repertoire focused on the philharmonic, academic artistically prepared audience are established. It is proved that in the work on the repertoire the colossal erudition of the Master was shown, directed on application of synthesis of various means of stage expression in the context of theatricalization of concert programs. It is noted that Lev Venediktov's professional activity organically combined organizational-managerial, staging-demonstration, pedagogical-educational aspects of work with the team, which contributed to the creative growth and wide popularity of the ensemble in Ukraine and abroad.

CREATIVE PATH OF THE OUTSTANDING ARTIST ANATOLIY HAIDENKO

CREATIVE PATH OF THE OUTSTANDING ARTIST ANATOLIY HAIDENKO

Юрий Александрович Подласкин (портрет учителя)

Yuri Alexandrovich Podlaskin taught instrumentation at music schools in Leningrad and St. Petersburg for more than 30 years. He was a graduate of the piano faculty of the Leningrad Conservatory, worked at the Perm Opera Theater, served throughout the war in the Navy ensemble, had military awards, as a conductor worked with various ensembles and, of course, was a master of instrumentation. His lessons were a real school of professional skills for the students. Yuri Alexandrovich did not write memoirs, did not like to give interviews, and the memories of students exist only in the form of handwritten and oral stories. This material is the first attempt to create a biographical essay about an outstanding musician and teacher, the skill of which was continued in the students. Its graduates successfully conduct teaching activities, perform on stage, and lead various musical groups.

Guitar movement in Ukraine at the beginning of the XXIst century

The article studies the development of guitar art in Ukraine at the beginning of the XXIst century. This topic is virtually not researched in domestic musicology. All the research is primarily devoted to pan-European trends or regional school. For the first time, this study analyzes various aspects of the activity of the Guitarists Association of the NUMU (National All-Ukrainian Music Union) presenting historical material on the formation of guitar art in Ukraine, and information on outstanding musicians of the past. Factual material on the history of the National All-Ukrainian Music Union and the Association of Guitarists as its creative center has been gathered. The article traces the development of the guitar movement in Ukraine at the beginning of the new century from the First All-Ukrainian Festival-Competition of Guitar Art of Valery Petrenko to the presentday events. It emphasizes ways of development of competitive activity, the case of Oleg Stefaniuk Open Competition of Music Masters (2019), online competitions of performers "Guitar Play" and competition "Compoguitar". The only specialized magazine Guitar in Ukraine, published regularly since 2008, facilitates the promotion of the guitar art. Hence, the active and diverse activities of Guitarists Association of the NUMU have significantly contributed to the development of Ukrainian guitar art in the performing and academic-pedagogical aspect.

«Дорогой мой и великий Пётр Ильич!» (о переписке Александра Ильича Зилоти с Петром Ильичем Чайковским)

The present study is based on the materials of correspondence between the pianist and conductor A.I. Ziloti and his teacher P.I. Tchaikovsky in the period from 1886 till 1893. The last letter was sent by the great composer a month before his death. Throughout his life, Ziloti was a propagandist of Pyotr Ilyich’s works and one of the best editors and proofreaders of his works. The study reveals little-known facts about the life and creative activities of outstanding musicians Alexander Ilyich Ziloti and Pyotr Ilyich Tchaikovsky. The letters trace the features of the relationship between two talented individuals who were congenial souls. The epistolary legacy was a testament to their fruitful friendship, which left a noticeable mark in the history of Russian musical culture at the turn of 19th and 20th centuries. The correspondence between A.I. Ziloti and P.I. Tchaikovsky can be called a document of the epoch, reflecting in detail the specifics of its musical life and creative process. The study is dedicated to two memorable dates – the 180th anniversary of Tchaikovsky’s birth and the 75th anniversary of Ziloti’s death.

Magazine “Slavs” in Structure of Foreign Policy “Soft Power” in Slavic Movement during the Great Patriotic War of 1941-1945: Musical and Cultural Aspect

For the first time, an attempt has been made to source-based analysis of materials on musical subjects of the “Slavs” magazine, the press organ of the transnational anti-fascist All-Slavic Committee in the conditions of the Great Patriotic War of 1941-1945. The relevance of Slavic musical problems in the socio-political and research terms is shown. Officially approved personalities of outstanding musicians, including opinion leaders - contemporaries of the war, whose names are found on the pages of the magazine, are revealed. It has been established that the attribution of most information units on musical art issues published in the magazine is difficult. Socially significant musical events in the country and abroad highlighted in the magazine, having local and international resonance: the premiere of the Seventh Symphony of D. D. Shostakovich, performances, concerts, accompaniment of various political and scientific events, etc. are singled out. The diverse use of the Slavic cultural potential in the musical sphere is shown. The main national informational musical and cultural vectors reflected in the publications (Russian, Ukrainian, Belarusian, Czech, Polish) are determined. The key contexts of the magazine’s publications are noted - the struggle against the common enemy - fascist Germany, the liberation and restoration of the culture of the Slavic countries.

ВИТОКИ НАСНАГИ ТА ТВОРЧИХ ЗВЕРШЕНЬ ЗНАНОГО МАЙСТРА БАЯННО-АКОРДЕОННОГО МИСТЕЦТВА

У статті розкривається творчий та педагогічний потенціал видатного педагога, професора кафедри народних інструментів Донецької консерваторії, засновника донецької баянно-акордеонної школи, фундатора кафедри народних інструментів цієї консерваторії, який взяв активну участь у її становленні та формуванні, «Відмінника освіти» В.М. Протопопова.Наголошується на унікальності його постаті, яка в період сьогодення належить до несправедливо забутих, попри неоціненний вклад, як у сценічний розвиток інструментів (баян-акордеон), так і в базу методичних розробок викладання гри на цих інструментах. Серед випускників педагога чимало відомих у культурно-музичному світі людей, про яких ми можемо знайти набагато більше інформації, ніж безпосередньо про їхнього вчителя та наставника. Автором статті було виконано низку завдань для розкриття багатогранності і неповторності особистості великого майстра баянно-акордеонного мистецтва – Віктора Миколайовича. На основі історичних матеріалів, спогадів учнів та друзів про культурне надбання, методичних праць та результатів педагогічної діяльності висвітлено цю видатну постать як знаного майстра баянно-акордеонного мистецтва.Уроки Віктора Протопопова були справжніми майстер-класами для всіх, хто був присутній в аудиторії та бажав вслухатись у кожне слово педагога, отримати поради цього майстра, що були цінними для всіх студентів консерваторії. Віктор Миколайович був для своїх студентів викладачем, майстром, наставником і просто хорошим другом. Паралельно з педагогічною діяльністю В. Протопопов здвйснював активну виконавську діяльність у багатьох ансамблях, був учасником колективів (ансамблі та оркестри народних інструментів) та безпосередньо їх керівником.Як виконавець цей видатний музикант володів професійною технікою, виявляв особливу схильність до ансамблевого виконання. У його концертних програмах завжди були твори різних епох та стилів, він мав багато записів на обласному радіо та телебаченні.В.М. Протопопов проводив активну науково-методичну роботу. Він написав понад 90 навчально-методичних і творчих робіт (біля 50 друкованих аркушів, багато з яких надруковані). Серед них: перекладення музичних творів для ансамблів баяністів, концертні обробки народних мелодій, оригінальні п’єси для баяна-акордеона. Його науково-методичні роботи відрізняються сучасними поглядами з методики гри на баяні-акордеоні. В.М. Протопопов надавав методичну допомогу викладачам музичних шкіл, училищ, читав доповіді з проблем удосконалення методики навчання гри на баяні-акордеоні слухачам курсів підвищення кваліфікації. Неодноразово був запрошений головою Державної екзаменаційної комісії в музичні училища та училища культури міст Дзержинськ, Дніпропетровськ, Донецьк.

Karol Szymanowski and multiculturalism

Karol Szymanowski and multiculturalism

Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity

Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity

МУЗЫКАЛЬНЫЙ КОГНИТИВИЗМ В НОВОМ КЛЮЧЕ: ПОВОРОТ К СУБЪЕКТИВНОСТИ (КНИГИ Й. БОСТРИДЖА И ДЖ. Э. ГАРДИНЕРА)

The article examines the problems of understanding music from the point of view of interaction of emotional perceiving and theoretical reflection. Basing on the case of two works on Schubert and J. S. Bach, written by outstanding musicians of our time, I. Bostridge and J. E. Gardiner, the role of author’s subject position is examined as well as reconstruction of historical and cultural context of the works as the prerequisite for deeper understanding. The author of the article points out changes in the attitude to music pieces after reading these books, which shows relevance of music cognitivism, not diminishing the impact of music, but, on the contrary, showing its new aspects if the author combines personal experience and research capabilities. Since both books are about music containing verbal element (vocal cycle and cantatas and Passions) the problem of interrelation of music and word has been regarded. In analyzing I. Bostridge’s book the accent is placed on recreation of historical and cultural factors connected with different songs of the cycle. In examining Gardiner’s work attention is given to elements of biographical method which are used to get more versatile notion about the composer’s music through which different traits of his character, often ambivalent, are disclosed. Interaction between sensual perception and intellectual reflection is an important process not only in gaining knowledge about a musical piece, but in extending social and cultural experience of the listener and the performer. Special accent is placed on regarding subjective approach to the works performed and analysed used by the authors as the result of merging of performing experience and research work. Such approach is relevant for contemporary art studies in which the subject/object duality is deconstructed and multidisciplinary research prevails.

Конфликт как эстетический принцип и психологический феномен в процессе музыкального творчества

Research objective. The purpose of the work is to specify the features and key components of the conflict, understood as an aesthetic principle and psychological phenomenon, as the basis for the special psychological tension to be born, that distinguishes the performance of outstanding musicians. The methodology determined by the use of phenomenological and psychological methods to identify the specifics of the conflict in the process of musical intonation, the method of systemic and structural analysis in order to identify the multifaceted structure of artistic phenomena forming the basis of tension in musical performance as well as the method of generalization in conclusions. These methodological approaches make it possible to examine the conflict as the basis of the process of musical performance, an aesthetic principle and a psychological phenomenon. The scientific novelty is presented in the expansion of approaches to the study of conflict as an aesthetic principle and psychological phenomenon in the process of musical creative activity; in deepening the psychological approach when studying the process of musical performance; in attracting the specifics of conducting, which is fundamentally important for a concert-performing pianist. Conclusions. Owing to the analysis carried out, we can conclude that conflict as an aesthetic principle and psychological phenomenon is an important component of musical performance, which can reveal the essence of music as an “ever-changing contradiction” (A. Losev), as a conflict of multidirectional vectors (I. Braudo). This phenomenon has a complex and multifaceted structure, which creates a special energetic tension (both in the sounding and non-sounding space) in musical intonation, subjected to the will of the musician-performer. The study of the conflict nature as an important component enables the performer not only to comprehend the peculiarities of the performing character of outstanding musicians, but also to deepen their own understanding of the musical language and the secrets of performing skills.

ТВОРЧЕСКИЕ ПРИНЦИПЫ А. Б. ГОЛЬДЕНВЕЙЗЕРА

The article discusses some of the creative principles of the largest Russian musician of the XXth century Alexander Borisovich Goldenweiser. These principles are relevant to the teaching and performing activities of the outstanding pianist, one of the founders of the Russian piano school. A subtle and intelligent performer, editor, composer, music critic and public figure, Alexander Borisovich formed a bright school of pianists, whose branches continue to develop successfully today in the activities of his followers and students. His versatile interests and broad erudition were manifested in the peculiarities of working with students, and his creative credo was reflected in the pedagogical principles: the responsibility of the performer, the culture of sound, hard work, subordination of the technical side to the artistic one, the same tasks for both adult students and novice musicians. Creative principles of A. B. Goldenweiser, studied in this article, are not complete or generalizing postulates, but they shed light on the ways and nature of the outstanding musician's work. They were formulated by the author on the basis of students' memories, statements and thoughts of Alexander Borisovich himself and may be of great interest to a wide range of readers fascinated by the history of Russian piano pedagogy.

Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher

Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher

Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)

Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)

V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career

V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career

A.I. Ziloti’s Educational Activity in St. Petersburg (According to Unpublished Correspondence Materials)

Collections of Russian libraries contain unique letters of pianist, teacher and conductor A.I. Ziloti (1863—1945). They demonstrate one of the facets of his talent as a musical public figure and educator. The correspondence of A.I. Ziloti with town governors is a unique phenomenon not only in his creative heritage, but also in the history of musical culture. The letters help to understand the musician’s worldview, artistic views, creative principles, giving as well a description of the cultural and historical context of the early 20th century period. The article aims to convey the importance of A.I. Ziloti’s correspondence for educational activities organization in St. Petersburg. The article identifies the letters’ specificity and studies A.I. Ziloti’s handwriting. For the first time, there are published his petitions addressed to the Director of the Imperial Thea­ters V.A. Telyakovsky and St. Petersburg town governors. The scientific analysis’ objectivity, connec­ted with comprehension of the value significance of A.I. Ziloti’s cultural ideas, requires to recognize the results of his musical and educational activities as his main achievements. Being an outstanding musician and teacher, A.I. Ziloti remains in the history of Russian culture, primarily, as a representative of musical education.

Saxophone in jazz: aspects of paradigmatics

Saxophone in jazz: aspects of paradigmatics

Concepts of Early Music Re-creation in Wanda Landowska’s Work

Concepts of Early Music Re-creation in Wanda Landowska’s Work

Manifestation of the “personal school” phenomenon in the creative activity of an artist (on the example of A. Leshchynsky’s multi-vector practice)

Manifestation of the “personal school” phenomenon in the creative activity of an artist (on the example of A. Leshchynsky’s multi-vector practice)

Songwriting and Chorale by Martin Luther

Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.