COMPARATIVE ANALYSIS OF THE DEVELOPMENT OF VIOLIN SCHOOLS IN KYIV, ODESSA AND LVIV AT THE END OF THE 19TH CENTURY AND THE FIRST THIRD OF THE 20TH CENTURY IN THE CONTEXT OF POLYETHNICITY

Abstract

This article is devoted to a comprehensive comparative study of the formation and development of violin schools in Kyiv, Odesa and Lviv during the late 19th and first third of the 20th centuries, in the context of multi-ethnicity as a key socio-cultural factor in the formation of a professional musical performance milieu. The focus is on analysing the historical, cultural and educational preconditions for the formation of regional centres of violin performance, as well as the specifics of their functioning amidst the active interaction of various European musical traditions. The article traces the role of leading music education institutions, in particular the activities of music schools, conservatoires and private teaching classes, which formed the basis for the professional training of violinists and the development of original pedagogical systems. Particular attention is paid to the analysis of intercultural links and creative contacts that facilitated the integration of Polish, Czech, Russian, Austrian, Jewish and other European performance traditions into the national musical landscape. The work of leading violinists and teachers is examined – I. Vodolsky, P. Kokhansky, O. Shevchyk, M. Sikard, M. Erdenko, D. Bertier, N. Skomorovsky, Y. Magaziner, Y. Perman, F. Stupka, P. Stoliarsky, D. Oistrakh, E. Perfetsky, R. Prydatkevych and others, who made a significant contribution to the formation of regional performance traditions and the development of violin teaching methods. It is demonstrated that their pedagogical activities contributed to the establishment of distinctive schools of teaching, which combined technical perfection in performance, depth of interpretative thought and individual artistic style. The study identifies the common and distinctive features of the development of the Kyiv, Odesa and Lviv violin schools. It has been established that the Kyiv model was shaped at the intersection of Polish, Czech and Russian traditions; the Odesa school developed in a distinctly multicultural environment, where P. Stoliarsky’s pedagogical system played a significant role; the Lviv school was oriented primarily towards the Western European cultural sphere and was shaped under the influence of Austrian, Polish and Ukrainian music education institutions. It is argued that multi-ethnicity served not only as a historical prerequisite but also as a system-forming factor in the development of Ukrainian violin art. It contributed to the formation of an open cultural environment in which various performance traditions were integrated, ensuring the multi-directional nature of the evolution of the national violin school.