The historical dynamics of the clarinet playing in Kharkov
The article deals with an overview of the stages of historical development of the clarinet art in Kharkov in the course of 127 years in terms of modern challenges related to educating a universal musician. The body of scientific works (E. Kononova, V. Bogdanov, V. Altukhov, V. Apatsky) on the inception and development of professional clarinet art in Kharkov has become the basis for the original study since the second half of the 19th century. The systematization of historical data on the development of the clarinet art in Kharkov requires further study. It is necessary to summarize the development of the clarinet art in Kharkov within the first decades of the 21st century and to provide an entire picture of the whole historical period. The actuality of the subject emphasizes that until now there has not been any single source which collects all the data on the Kharkov clarinet school. The subject of the research is the activity of representatives in the clarinet school within recent 127 years. The article has subsequently considered all the stages of the pedagogical activity of Kharkov musician-clarinetists from the end of the 19th century until now. Besides, it has eliminated the shortcomings which appeared in the existing publications and expanded the list of Kharkov educator-clarinetists with the musicians’ names which have never been mentioned before. The purpose The analysis of the latest publications on the subject. The overview of the existing subject-related materials has confirmed that it is necessary to make a further research to get the results which can represent an obvious novelty. The novelty of the results consists in poor description of the clarinet art development in the special literature within recent two decades. Special interest is paid to the methodology developed by the Kharkov clarinet school which has shown impressive results within recent years. The results can be treated as perfect. To cover the issue, we applied the historiographical study method, principle of historicism and modeling of the theory and history of the clarinet playing in Kharkov. One of the most important stage in the development of clarinet art is the one connected directly with the concert activity which has previously been represented by the clarinetist’s participation in a chamber concert at best. The first performer playing solo concerts was a laureate of the Republican competition by S. Nizkodub who was an educator in Kharkov National University of Arts from 1982 to 2000. He performed several solo programs containing both classical and modern compositions. An honored art activist of Ukraine, professor V. Altukhov, recognized as one of the best wind instrument educator, made a greate contribution to forming the peculiarities of pedagogical and playing school of Kharkov clarinetists. The essential components for the modern development stage of the Kharkov clarinet school are: organizational work, performing base and creative environment ensured by V. Altukhov’s activity. As a result, starting with 2010, Kharkov clarinetists have systematically taken the medal places at the international competitions. We should name the most prominent Kharkov young clarinetists-laureates at the international competitions, most of whom work abroad: S. Andrusenko, A. Bedenko, S. Vasiliev, S. Dvornichenko, Yu. Nemirovsky, A. Oksenberg, L. Popov, S. Tretyakov, A. Shestovsky. The participation of Kharkov musicians in competitions has led to both expanded communication with clarinetists from different countries and exchanged experience and repertoire. Certainly, this has made a positive impact on the preparation level of national performers. As a result, Kharkov educators have drastically updated the educational repertoire owning to new training manuals and compositions which are a part of the educational program abroad. An important issue in terms of the education of future laureates is the required inclass study of compositions included directly to the competition programs. It is necessary to keep up with the advanced European clarinet schools in terms of mastering cutting edge approaches to clarinet playing available in the modern compositions. Conclusions. The organization of the educational process in the modern classes of clarinet playing is primarily directed to the academic education of young musicians combined with mastering the modern repertoire. This makes the Kharkov clarinet school compatible on the European stage and allows defining the Kharkov school as one of the best centres of the clarinet art. Prospects for futher study of the subject. The achievements of the Kharkov clarinet school for the recent years have approved the right way chosen to educate clarinetists who are able to compete with foreign performers. We can conclude that the staff of the Kharkov pedagogical and clarinet playing school is established and successful. In particular, such musician-educators as S. Nizkodub, A. Bedenko, S. Dvornichenko deserve a separate study.