Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing
The basis for the topic. The present article is devoted to the coverage of pedagogical functions of the concertmaster activity in the class of the concert and chamber singing. Taking into account that the functions of a teacher-concertmaster are quite extensive, and the scope of the performed repertoire in genre and style account is extremely broad, the topic of works on concertmaster studies is a special section of music science. The utmost goal of the concertmaster in the class of concert and chamber singing is to develop the artistic thinking and musical taste of the young singer, to increase his/her erudition and, as a result, to create a creative personality. The object of the study is the pedagogical activity of the concertmaster as a form of creativity; the subject is the experience of understanding the activity of the concertmaster in the class of concert-chamber singing. The purpose of the article is to substantiate the pedagogical factor of the concertmaster work in the class of concert and chamber singing as the basis of the professional activity of the future singer. The analysis of the recent publications on the topic. In the last decade, the Kharkiv performing school has greatly increased the attention of the researchers from practicing concertmasters to their professional self-identification. Thus, N. Inyutochkina poses the problems of concertmaster activity in the light of the general tenets of "ensemble co-creation", according to which the concertmaster is a sensitive ensemble-member and interpreter who has thoroughly studied the specifics of the vocal art and aligns all the means of his/her expressing instrument with the personal-psychological complex of the singer (2010). The dissertation for a Candidate degree written by G. Zub (2012) substantiates the specificity of this kind of performing creativity in historical, genetic, typological, and stylistic planes. The concertmaster’s work has been studied in the most encyclopaedic way in numerous scientific works by T. Molchanova (2015). The presentation of the main material. The presentation of the main material. The concert-chamber singing is regarded as a kind of co-creation of the vocalist and pianist, in which the former learns from the latter. The latter, on the basis of the professional service to the vocal art and its bearers, must create from his/her under warder a master who is capable in conditions of a concert performance for an artistic act-event. The main qualities of the concertmaster who wants to master the pedagogy of the vocal art are attention, memory, productive (creative) thinking and constant expansion of the consciousness and emotional sphere. A concertmaster must possess a complete set of musical talents: the advanced musical hearing, the imaginative thinking, the sense of rhythm, artistry, fantasy, mobility, activity and the specific ability “to pick up” a soloist in time and finish the composition. To do this, he/she cultivates an analytical mind, an intonation erudition, curiosity, perseverance and even tolerance, pedagogical endurance, and psychological drive to this field of music making. The way to master the whole complex of properties and qualities of the concertmaster’s training is a long and complicated one. The directions of applying the concertmaster mastery in the pedagogic job with young vocalists have been outlined: the preparatory work (the introduction to the composer’s text; the work on the poetic text; the processing of the poetic text); the performance as a psychological process (artistic influence, suggestion, performing means) and the concert performance. A concertmaster is a highly sought after profession of an exceptionally creative, intellectual prowess that requires something more than “playing of the notes”! Accompanists are the equal participants in a ensemble whole – the co-creation of a singer and a pianist, which creates for the listener an artefact “on behalf of the author”. Being a rhythmic and harmonious support of a singing performance, the concertmaster should be especially attentive. His/her attention distributes not only between his/her own hands, but concerns primarily a soloist. A concertmaster’s “circle of attention” contains such components as the pedal, the sound balance, the sound accompanying of the singer, the embodiment of a holistic artistic image, which requires a great strain of spiritual and physical forces. The conclusions identify the “keys to mastery” – the rules for young concertmasters. They are: to be able to listen to the soloist, to mentally sing and breathe with him/her; to constantly train to play music at sight; to always see 3 lines (the vocal one with the piano one); be with the singer “on one wave”: to empathize, support and lead, if necessary, his/her melodic line; not to distract the audience with unnecessary movements behind the instrument; to study the singer’s capabilities, his/her potential, taking into account the hall acoustics and the quality of the instrument; to find time for self-observation and rehearsals to improve the co-creation with the vocalist. Mastery and art are one: without one of these components, the vocalist will not reach the requisite professional height! Inspiration and artistry are the main components of an artistic personality, both of the singer and of his/her teacher-concertmaster. Maintaining the immediacy of feelings, openness to the Other-in-oneself is a pledge for the co-creation of the vocalist-soloist and concertmaster.