Kyiv Theatre of Classic Ballet: historical and artistic aspects (1981-1998)

The purpose of the article is to learn the pattern of the artistic activities of the troupe "Theatre of Classic Ballet" in the context of the historical development of Ukrainian choreographic art of 1980th and 1990th. The methodology of the work contains using such research methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication lies in the exploration of the work of the troupe of "Theatre of Classic Ballet" its historical and artistic aspects for the first time in history. Conclusions. The activity of the artistic group has been connected with the work of famous Ukrainian ballet masters of the second half of the 20th century, such as V. Vronsky (1981-1986), V. Rybiy (1986-1988), and V. Kovtun (1989-1998). V. Vronsky has formed the principal cast of the troupe, create a basic repertoire, which included masterpieces of the world and Ukrainian classics. Also, the team has been popularized because of the cooperation with the leading theatres of the USSR. V. Rybiy has extended the concert programs of theatre with the help of the works of Soviet and European ballet masters. He has gained an ability to show those works in any theatrical conditions, using a minimum of stage designs. However, V. Kovtun has introduced in the repertoire big choreographic forms and, in order to implement them - he has expanded the troupe to 45 people. He has also invited famous Kyiv performers to take part in the program and has developed abilities for young artists to enter the troupe. Keywords: Theatre of Classic Ballet, V. Vronsky, V. Rybiy, V. Kovtun, choreographic art.

The Trocadéro

This chapter takes for its focus the high point of the Parisian musical season in 1900: the ten state-sponsored concerts officiels of the 1900 Exposition Universelle de Paris. As had been the case in 1878 and 1889, the goal of these concerts was to promote specifically Republican ideals through music. Yet in 1900, these ideals had transformed into a secular construction of Frenchness that absorbed Catholicism as a foundational trait of national identity. Although the Church was not represented in any official capacity either on the musical planning commission or on the concert programs themselves, the repertoire performed throughout these concerts created a narrative that centered around a sense of reconciliation between Church State. The carefully crafted vision put forth by the State relied heavily on transformations of the Church for the formation of a cohesive Republican identity such that the Church was present in its displays, theaters, and concerts in a way not seen in any previous Exposition. In the heart of Paris, the Trocadéro hosted a significant amount of explicitly religious music that, when mediated through actors deployed through the state apparatus on an international stage, transformed the Church into an integrated facet of French Republicanism that could be proudly displayed to the Exposition’s international audiences. These concerts functioned not as nostalgic emblems of a Revolutionary past nor as attacks against the political and religious right, but, rather, as a site of transformation at which the Republic co-opted Catholicism as an indispensable aspect of its own French identity.

“Yiddish Songs” of Mieczyslaw Weinberg: Finding a Jewish Idiom

Два цикла Мечислава Вайнберга с одинаковыми названиями «Еврейские песни» (op. 13 и op. 17) были написаны в 1943 и 1944 годах. В обоих сочинениях Вайнберг обратился к поэзии на идише, выбрав стихи Ицхока Лейбуша Переца и Самуила Галкина. Первый цикл дважды был опубликован при жизни композитора, однако в программах концертов и на дисках он звучал в основном на русском языке. О его содержании тоже судили по переводам. Второй цикл до недавнего времени оставался в рукописи. Циклы объединяет также обращение композитора к модусу Adonoy Molokh, в котором звучат молитвы некоторых праздничных дней - Субботы и Новолетия. Вайнберг не цитировал синагогальные песнопения, но создавал новые мелодии по тем же законам, по которым возникали их многочисленные варианты в ашкеназ-ской культуре. Музыка «толкует» текст, в некоторых случаях заставляя его переосмысливать. Одновременно композитор использует арсенал средств из европейского академического словаря и отсылает к музыке классиков. Two cycles of Mieczystaw Weinberg with the same title “Jewish Songs” (op. 13 and op. 17) were written in 1943 and 1944. In both works, Weinberg turned to Yiddish poetry, choosing poems by Itschok Leibush Perets and Samuel Halkin. The first cycle was published twice during the composer's lifetime, but in concert programs and on CD's it sounded, mainly in Russian and was called “Children's Songs.” The second cycle remained in the manuscript until recently. These cycles are also united by the composer's use of the Adonoy Molokh modus, in which the prayers of Saturday and High Holidays are sung. Weinberg did not quote synagogal chants, but created new melodies under the same laws that gave rise to their numerous variants in Ashkenazic culture. His music “interprets” the lyrics, in some cases causing it to rethink. At the same time, the composer used techniques from European academic music and gave references to the music of the classics.

The story of “Beat”: A concert program in kindergartens

Orchestras all over the world have concert programs in various formats for children, including some designed for preschoolers. Presenting concerts to children in kindergartens and schools is a long-standing tradition in Israel. The uniqueness of these programs and their main innovation is the preparatory work and process through which the children are prepared for the concert—which is the culmination of the whole process. This case study focuses on the first 10 years (2005–15) of one of these programs—“Beat”—implemented in Israeli kindergartens. We aim to characterize the development of the various stages of this program, and to describe its integration into kindergarten life. The data were collected from semi-structured interviews with 26 program participants over the years (kindergarten teachers, music teachers in kindergartens, musicians, etc.), as well as documents (concert programs, preparation booklets, etc.) from its collaborating bodies. The main findings show the importance and impact of the cooperation between kindergarten teachers and music teachers during the preparatory stages, making music a part of daily life in kindergarten.

The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene

The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.

The Spiritual Aftermath

After Dvořák’s eventual departure from the National Conservatory in 1895, the New World Symphony continued to be a flash point in discussions about the relationships between African American and European American music and musicians, particularly the repertoire known as “Negro spirituals.” White American-born composers, such as Henry F. Gilbert and John Powell, continued to complain about lack of representation on concert programs while failing to support their Black counterparts, who leveraged relationships with figures inside and outside the musical world to create new social networks for finding professional success. In the early 1930s, William Dawson and Florence Price became the first Black composers to premiere symphonies drawing musical inspiration from early African American vernacular song and dance.

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.

OLENA KOSTENKO – THE FOUNDER OF THE KHARKIV TSYMBALY SCHOOL

Introduction. 2020 became an iconic and significantly groundbreaking year for all mankind. Its events made us change our view on many aspects of our life, which from one side has become a generator to search of new ways and solutions and from another one – emphasized once again the importance of events and processes of the past, reminded of the value of existing assets. All that, of course, didn’t pass by the artistic sphere, in which usual events (concerts, performances, exhibitions, conferences, etc) found their new transformation thanks to opportunities of digital technologies and due to quarantine restrictions. It is possible to outline the process of reflection (an artistic one in our case) on a personal example of the authors of the article as direct active participants in the celebration of the 30th anniversary of the cimbalom class of Kharkiv National University of Arts named after I. P. Kotlyarevsky, which took place online. It was almost a 3-month long remote marathon “Cimbalom Slobozhanshchyna”, which consisted of archival and current records of representatives of Kharkiv cimbalom school: from toddlers – students of schools of aesthetic education to already famous Ukrainian musicians – graduates of the cimbalom class of KhNUA. New conditions and ways of realization provided an opportunity to look holistically at the creative potential and powerful development of one performing school. The desire was not just to provide a creative biography of the founder of the cimbalom school of Slobozhanshchyna Olena Opanasivna Kostenko, but to emphasize the versatility of her creative personality and reveal all aspects of her creative work, which from our point of view became the key that opened famous Kharkiv cimbalom school. Objectives. The objectives of this article are to acquaint the world with the creative personality of Olena Kostenko, to single out and highlight the spheres of her creative activity, the set of which became the basis for the formation of a modern Kharkiv cimbalom school. Results and Discussion. Olena Opanasivna Kostenko is an Honored Artist of Ukraine, Associate Professor, Founder, and Leader of the Kharkiv Cimbalom School, a well-known teacher, methodologist, author of many concert arrangements for cimbalom and ensembles with the participation of cimbalom and creative projects. All these aspects of creative activity will be considered in more detail and in the context of the history of the performing school. Founder. Almost in one decade of the XX century, the whole hierarchy of cimbalom education was formed in Kharkiv: school – specialized school – conservatory (primary – secondary – higher art education), at the origins of which stands one person – Olena Kostenko. Lecturer. The synthesis of many aspects, such as many years of fruitful pedagogical work, love for work of life and cimbalom, fidelity to human principles and flexibility to new realities, constant creative search, inexhaustible enthusiasm, and personal qualities of Olena Opanasivna are the “magnet”, in our opinion, that attract like-minded creators, students-followers. Her pupils are numerous winners of international and national competitions. Olena Opanasivna’s graduates successfully work in the teaching field in Kharkiv, Kyiv, and Lutsk, they are soloists of professional groups of Kharkiv. Pedagogical and personal principles of O. Kostenko are: creativity and productivity, freedom and respect, accessibility and peculiarity. Methodist-researcher. O. Kostenko is the author of numerous publications, which can be divided into historical-research and educational-methodical publications. She is a regular speaker of methodological seminars and workshops organized by the Regional Training Center for Cult Education of Kharkiv region and the city of Kharkiv, which addresses problematic and topical issues of primary art education, namely cimbalom. Editor and compiler. Music editions by O. Kostenko became no less valuable, even more significant contribution to the cimbalom art. Olena Opanasivna stimulates active editorial activity among her students, arguing its importance and need for expanding and updating the cymbal repertoire, interest in finding new readings of musical creativity, enriched and diversified concert programs, and more. Social activist. O. Kostenko’s projects of a series of concerts became significant events for the music world of Kharkiv. They were held in the halls of the Kharkiv Philharmonic, Kharkiv National University of Arts named after I. P. Kotlyarevsky and Kharkiv Music College named after B. M. Lyatoshinsky called “Cimbalom from A to Z” (2005), “Evening of Ukrainian folk instruments music” (2007), “The world of cimbalom from A to Z” (2008, 2012), “Festival of ensembles of Ukrainian folk instruments” (2009), “The world of cimbalom” coauthored with M. Kuzhba (2013), “Cimbalom playing” (2013, 2014), “Cimbalom in Slobozhanshchyna” – ensemble music (2015), “The cimbalom constellation of Slobozhanshchyna” (2017), “Let’s interpret Boris Mikheev’s music on cimbalom” (2018), Remote marathon to the 30th anniversary of the cimbalom class of KhNUA “Cimbalom Slobozhanshchyna” (2020–2021). We would like to emphasize the constant participation of Olena Opanasivna in the jury of well-known and professional international, all-Ukrainian and regional competitions. Conclusions. Undoubtedly, all the stated above proves the active process of formation and flourishing of the youngest cimbalom school in Ukraine – Kharkiv one, which has been going on for more than 40 years and is headed by a bright creative personality (with its individual style, personal qualities). We state the fact that due to the versatility of Olena Kostenko’s creative activity (founder, teacher, methodologist-researcher, editor-compiler, public figure) it is impossible to imagine the system of folk instrumental art of Slobozhanshchyna at the present stage without cimbalom and cimbalom performing school. Constant creative activity and openness to new forms of the latter characterize it as productive, modern, and original.

CREATIVE PORTRAIT OF VOLODYMYR DOTSENKO AS EXPRESSION OF THE CONCEPT OF UNIVERSALISM

The contemporary national Ukrainian art of guitar performance is actively growing. In the latest decades it is experiencing a veritable takeoff. One of the primary objectives of modern musicology is to extensively study the phenomenon of Ukrainian guitar art, specifically its regional variations. The establishment of regional schools of guitar and study of prominent artists deserve detailed research. The article examines the multifaceted creative individuality of Volodymyr Dotsenko, the founder of professional school of classical guitar in Kharkiv. His artistic image is firstly pondered in the light of universalism. Such major areas of the artist’s interest are explored as conducting, teaching practice, research and socio-educational activity, which all lie in close conjunction with each other and contribute to the universalistic image of a modern musician. A specific focus is made on the early development of artistic universalism in Dotsenko, which begins in the early days of his professional activity. The article shows how the quality of education and upbringing contributes to shaping a multifaceted creative individuality. The analysis of Dotsenko’s performance style displays such universalistic features as a deep understanding of the interpretative idea core, stylistic and technical immaculacy in performance of guitar pieces from diverse styles, exquisite taste in selection of conceptual concert programs. Afresh approach to the teaching of guitar performance and years of experience in training firstclass performer laid groundwork to a corpus of academic methodical literature, which fully conveys the principles of comprehensive universalist development of a musician. Dotsenko’s teaching and scholarly activities are characterized by deep understanding of the technical aspects of classical guitar performance, a highly academic approach, extensive knowledge, precise turn of phrase, and colorful imagery. Meanwhile, Dotsenko’s organization skills brought about the creation of a unique ensemble: the Kharkiv guitar orchestra, as well as a number of academic and practical conferences and classical guitar contests. All of these events heavily contributed to further development of Ukrainian guitar art. Dotsenko is an example of Ukrainian creative elite, a unique musician, professor, academic, and social activist. The universalist traits characteristic of his artistic individuality, can be observed in every field of his creative output and are the main qualitative feature of his personality.

In Search of a Consolatory Past

This chapter investigates how interwar French musicians understood music making as an embodied memorial practice. Using archival sources such as soliders’ and musicians’ diaries and correspondence, concert programs, and journals like the Gazette des Classes du Conservatoire, this chapter demonstrates that Maurice Ravel, Marguerite Long, Nadia Boulanger, and Darius Milhaud were among the many French musicians who understood musical practices such as composing, listening, and performing as crucial sites for maintaining connections with lost loved ones. By situating these sources within the context of popular fin-de-siècle theories of corporeal memory posited by Henri Bergson and Marcel Proust, as well as spiritist and French Catholic memorial practices, this chapter shows how making music facilitated mourning by permitting musicians to recall corporeally the feeling of being in the presence of those they mourned.