CHAMBER-ENSEMBLE ACTIVITIES OF UKRAINIAN ARTISTS IN NORTHERN CHINA IN THE FIRST HALF OF THE 20TH CENTURY

Authors

DOI:

https://doi.org/10.32782/art/2024.3.1

Keywords:

performance, vocal and instrumental works, ensemble, teacher, social and musical figure, national traditions, sociocultural processes

Abstract

The article is devoted to the consideration of the forms of chamber-ensemble activities of Ukrainian artists who worked in the north of China during the first half of the 20th century. The figures of leading personalities are identified, the versatility of aspects of their activities as performers, teachers and social and musical figures is considered. The directions of concert activities of a number of Ukrainian chamber vocal and instrumental performers are traced, and their fates after returning to Ukraine are highlighted. Basing on the materials of archival periodicals of the first half of the 20th century and the memories of contemporaries, the article studies the figure of violinist Oleksandr Dzyhar as a brilliant ensemble performer, an active member of the "Ukrainian Far Eastern Sich" society and an ardent propagandist of the works of Ukrainian composers in China; Volodymyr Trachtenberg is characterized as an organizer of intense concert life, as an outstanding teacher, founder and head of the first music school and the Higher Music School in Harbin, a list of his most outstanding students is given, as of the founder of the first string quartet of North China and an active propagandist of chamber-ensemble performance in China. During the study of archival materials, previously unknown unique facts of spreading individual works of the Western Ukrainian composer Yaroslav Lopatynskyi in China during his lifetime were revealed. The importance of the role of Ukrainian musicians in preserving national professional self-awareness in emigration and continuing the development of the traditions of Ukrainian musical art is emphasized. The results of raising the level of cultural life of the Ukrainian community in the north of China and the influence of Ukrainian musicians on the development of Chinese national musical art through the intensification of concert life, the establishment of musical educational institutions and the introduction of a new form of chamber-ensemble musical activities for Chinese musical art are summarized.

References

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Published

2024-11-22

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