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1

УКРАЇНСЬКЕ ВІОЛОНЧЕЛЬНЕ МИСТЕЦТВО І ТРАДИЦІЇ ПЕТЕРБУРЗЬКОЇ ШКОЛИ К. Ю. ДАВИДОВА

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Зав'ялова О.
Педагогічні науки: теорія, історія, інноваційні технології
|
2014
|
issue 7(41)
49-56
EN
The article considers the pedagogical principles of teaching playing the cello of K. Y. Davydov. The implementation of these principles in performing and pedagogical practice of his students and followers in Ukraine are described. The role of pedagogical system Petersburg cello school in the development of Ukrainian cello art is revealed. Innovations of K. Y. Davydov in cello technique were directed primarily to the release of passage movements, achieving naturalness and freedom, while the marvelous passage technique was interpreted as a means of development of its themes, getting in his works extraordinary melody. Largely contributed to this set by K. Y. Davydov fingering principles, which provided a variety of opportunities for phrasing. Having systematized fingering according to the single principle in gammas, K. Y. Davydov separately developed a technique of the use of the thumb of the left hand on the fingerboard.The same approach was seen concerning expressive functions of strokes that have beenthat have been applied in accordance with the character of music. Through a combination of expressive and virtuoso-technical qualities, works of K. Y. Davydov have not lost their value in teaching and partly concert practice today.Pedagogical and methodological views of K. Y. Davydov were embodied in his cello«School» (1888), on which he worked during the last years of his life, having finished only the first part. So far thiswork has not lost its significance, as K. Y. Davydov rationalized many cello techniques; legalized the use of «bayonet» (spire); introduced many changes in the technique of the right hand. He developed a special kind of technique of play that got in the world of cello art the name of«Davydov’s hinge», besides he developed the technique of changing positions, that is contributed to the development of free passage movements. The principles of classical play technology, developed by K. Y. Davydov, opened the way to the use of cello expressive features not only in the ensemble and orchestral, but also in solo performance. Introduction of established principles reflected in the choice of repertoire, where were excluded technically complex, but vacuous virtuoso works. Performing, teaching and composing activity of K. Y. Davydov has significantly influenced contemporary music practice. Created in St. Petersburg cello school nearly half a century was the leading in Europe.
2

НІМЕЦЬКА ВІОЛОНЧЕЛЬНА ШКОЛА ХІХ СТ.: ВИКОНАВСЬКО-ПЕДАГОГІЧНІ АСПЕКТИ

100%
Зав'ялова О.
Педагогічні науки: теорія, історія, інноваційні технології
|
2014
|
issue 8(42)
9-24
EN
In this article a process of growing the German violoncello school of the XIX-th century is studied. Forming the performing and pedagogical traditions and their spreading in the European musical space are learned. The author analyzes performing, pedagogical and composing activity of the well-known German violoncellists and gives the historical estimation of the results of their work. By the second half of the XIX-th century the European instrumental art had the typical features of universal musical practice, which were expressed in the combination of composing and performing activity. Historically it caused a dependence of the level of instrumental playing and marked the specification of growing instrumental playing schools – violin, harpsichord, flute, violoncello. The idea «instrumental school» in its broad meaning signifies independently from the shape of artistic playing direction, cultural tradition based on the definite peculiarities of performing and pedagogical practice by means of which the generalization and inheriting playing experience (even without forming the theoretical platform) take place. In its narrow meaning this term characterizes a method of playing the definite instrument, when the practical experience is generalized and systematized in different «methodologies», classes, establishments. However, the problem of playing the bow instruments isn’t investigated in theoretical sources. The question of finding out the peculiarities of the development of the playing school, the methodology of teaching and connected with it playing school that had its reflection on the specification of the teaching are represented especially sharply in the violoncello art. Comparing with the XVIII-th century when the leading place in the European musical space was occupied by the Italian and French schools, the main achievement of the violoncello pedagogic of the XIX-th century belonged to the representatives of Germany. The perspectives of this scientific work which presents the most prominent representatives of the German violoncello school of the nineteenth century are the following: further study the representatives of the German school; study the representatives of violoncello schools in other countries; study the schools of other instrumental (piano, violin, flute).
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