Вокально-педагогічна спадщина О. Карпатського та її значення для розвитку львівської вокальної школи середини ХХ століття

Abstract

У статті досліджено виконавську та педагогічну діяльність О. КурдидикаКарпатського, осмислено його внесок у вокальне мистецтво Львова..

В статье исследована исполнительская и педагогическая деятельность А. КурдыдыкаКарпатского, осмыслен его вклад в вокальное искусство Львова.

Nowadays, consideration of issues connected with performance and pedagogical school is becoming topical. True, school as a musical art trend is most often analyzed through performers’ personal experience, who remain in the history as the authors of original style standards of performance (or teaching methods); through the practice of historically formed regional institutions (concert, educational establishments) taking into consideration general tradition of a national culture. Research of performance and pedagogical activity of West Ukrainian artists, in particular, Lviv Vocal School representatives, seems to be particularly topical in the context. We shall point out that personified approach to the phenomenon of performance and pedagogical creative works, in our opinion, favours opening of the dynamics of professional evolution of any performance school – on the level of personal approaches, skills, manners, style choices, aesthetics principles, etc. Among Lviv vocalists, who created at the turn of old and new historically-political conditions (middle of the 20th century), of particular importance is the figure of Oleksandr Karpatskyy (real name – Kurdydyk, 1889–1964), opera and chamber singer (lyrical baritone), Professor of the Solo Singing Department of Mykola Lysenko Lviv State Conservatory. In 1907 he finished classical gymnasium and entered Lviv University, the Faculty of Philosophy. Starting from 1913 he continued his studies in St. Petersburg conservatory (M. Chuprinnikov’s class of professional solo singing). In 1919–1922 he was a leading soloist of Kyiv theatre. From 1922 to 1939 he taught solo singing and managed opera class in High Musical School (Poznan). In 1945 he goes to Ukraine and teaches solo singing in Odessa conservatory. From 1951 to 1962 – Head of the Solo Singing Department in Mykola Lysenko Lviv State Conservatory, and since 1959 – Professor of the Solo Signing Department. Among his pupils were famous singers: V. Arbuzov, O. Vrabel, H. Kuzovkov and others. On the basis of materials from Professor’s private archive, we can discover advices for performers and teachers-vocalists, which are interesting and topical at all times. Interpretation of the essence of vocal methods deserve attention: the only can be solely principal scientific notions, criteria of correct and beautiful vocal sound, and methods can differ depending on the specific vocalist, his/her natural vocal qualities, coordination of all zones of his voice apparatus, the speed of psychic and artistic reactions and many other factors. One of the main tasks of a singer is the ability to reproduce the idea and feelings of a poet and a composer using his voice. A singer shall be intellectually and aesthetically developed personality, a musician; he must understand and feel the thing he performs. For the period of his pedagogical activity, O. Karpatskyy stresses on the necessity of development of theory and practice of vocal activity (combined), the necessity to introduce data from other related sciences, which could explain the nature, singing mechanisms, the necessity of knowledge of the simplest theoretical principles and factors of singing: anatomy, physiology, physics (acoustics), phonetics, breathing, the necessity of «special artistic blazing, inspiration, high organization of vocal apparatus and the organism in whole». Professor worked on improvement of his activity as a singer, pedagogue and the head of department during all his life. He untiringly studied, reread and put down a huge amount of scientific and methodical works, books, articles regarding vocal and other musical and theoretical issues, and left his scientifically substantiated methods of singer-artist training to the next generations of singers and pedagogues.