Lev Venediktov’s Creative Laboratory: The School of the Universal Type

• Main Author: Lyudmyla Karavatska
• Format: Article
• Language: English
• Published: KNUKiM Publishing Centre 2018-06-01
• Series: Вісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво
• Subjects: оперний хор; хормейстер; л. венедиктов; хорові традиції; творчі принципи; метод; стиль; синтез; універсальна школа
• Online Access: http://musical-art.knukim.edu.ua/article/view/140572

The article studies L. Venediktov’s artistic individuality and his creative principles. There is defined the scope of his artist’s activity, characterized as a unique extraordinary multidimensional style phenomenon of a musician and an educator, a teacher and a manager, an opera choirmaster and an artist-interpreter. The study also arranges genesis of N. Venediktov’s spiritual and professional personality. It investigates creative activity of a talented conductor that defined L. Venediktov’s professional orientation. It should be also noted that the perception of the artistic principles of G. Verevka, reflected in the study, was a continuation of the process of L. Venediktov’s professional basis development. The article eludicates the community of the artistic worldview platform of L. Venediktov’s teachers. The one that was formed in keeping traditions of Ukrainian singing culture and church choral music. The latter in turn, determined L. Venediktov’s creative and ethical principles, his artistic content and aesthetically perfect performance style. The research reveals the content of the concept of ‘the creative laboratory’, in its broad universal meaning, which synthesizes L. Venediktov’s manner of performance and his educating techniques as a demonstration of his multidimensional style, i.e. the basis for the Didactic-communicative work of the Master. The article determines extrapolation of opera-choral specificity to the didactically communicative sphere of L. Venediktov’s work as the main component of the choirmaster’s creative method. It casts light on the principle of L. Venediktov’s methodical work, in which dominates synthesis of intellectual-analytical and intuitive approach to musical material. It gives characteristics to the universal style of L. Venediktov’s school, where adjacent didactic-technological methods are used not only in choral and conductor performances but also in the piano one. Didactic and communicative-creative principles of L. Venediktov are as well considered in the context of the continuation of the Byzantine-Russian tradition of ‘encyclios pedia’, that is characterized by a diversified development of personality and reveals a kinship with L. Venediktov’s views, his principles of a great educator, who used to find priorities in all-round intellectual development, revealing, simultaneously, artistic and creative potential of an individual, as well as in the moral and ethical education of a conductor-performer.