Article Vol. 22, No. 1, 2022

The role of V. Vshelyachynsky and his students in the formation of piano performance in Ternopol

Olena Spolska
Received 24.06.2022 Revised 25.07.2022 Accepted 26.08.2022 Pages 141–145 505 Views

Abstract

The purpose of the work. The publication is devoted to the presentation of famous personalities who played an important role in the initial stage of the formation of professional piano performance in Ternopil in the late XIX – early XX centuries, on the example of Vladislav Vshelyachinsky and his pupils. The research methodology. The research methodology is to use historical-comparative and personalistic approaches. This allows us to highlight the figure of musician-teacher Vladislav Vshelyachynsky and his pupils associated with Ternopil, in particular Denis Sichinsky, in the context of the cultural and educational life of Ternopil during this period. Scientific novelty. The line of piano pedagogical and performing tradition of K. Mikuly as a student of F. Chopin in the next generations of musicians connected with Ternopil is traced. Among them: Vladislav Vshelyachynsky, Denis Sichynsky, Maria Soltysova (Bibulych), Denis Leontovych. Attention is focused on various aspects of V. Vshelyachynsky's activity, in particular as a teacher, and D. Sichynsky. He entered the history of Ukrainian music as a composer and choral conductor, the first professional Ukrainian musician in Galicia. The example of the analysis of two-piano miniatures by D. Sichynsky (as pupils of K. Mikuly and V. Vshelyachynsky) illustrates the characteristic features of writing associated with the piano style of F. Chopin and, at the same time, with folk song intonation, features of Ukrainian solo singing, song-romance. Conclusions. The role of musician-teacher Vladyslav Vshelyachynsky in laying the foundations of piano performance in Ternopil, on the formation of the creative personality of Denis Sichynsky as the first professional composer-pianist is traced

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Spolska, O. (2022). The role of V. Vshelyachynsky and his students in the formation of piano performance in Ternopol. Notes on Art Criticism, 22(1), 141-145. https://doi.org/10.32461/2226-2180.41.2022.262995

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