LVIV CONDUCTORS-DISCIPLES OF ARTHUR NIKISCH: ON THE FORMATION OF TRADITIONAL CONDUCTING ART OF HALYCHYNA OF THE FIRST THIRD OF THE 20TH CENTURY

Abstract

The aim of this paper is to research the conducting activity of Artur Nikisch’s disciples Tadeusz Mazurkiewicz, Ignaz Neumark and Walerian Bierdiajew in Lviv in the first third of the 20th century. The methodology of this study consists of the following: the research method was used for collecting and processing sources on biographies and creative legacy of the artists, the com-parative method was used for comparing and developing the understanding of various aspects of activity of the conductors, the analytical method was used for identifying the specificities of development of the conducting art of Halychyna of the given period. The scientific novelty consists in the first attempt to research the importance of the conducting tradition of A. Nikisch in Halychyna. Conclusions. It was established that the artistic and aesthetic priorities of activity of the Lviv conductors were concentrated on the improvement of artistic level of the city's bands, the introduction of a diverse repertoire, highly artistic rendition of music works, a profound understanding of the composer's style, and an exceptional impact on musicians and the audience. The analysed position of conductors regarding the creative process is not exhausted by conscien-tiousness, tireless work, discipline, tact, constant self-improvement, etc. It is emphasized that their artistic activity served as a benchmark for many local musicians and conductors. It contributed to the formation of professional qualities and artistic ideals, which resulted in the elevation of the musical art of the region and created a solid foundation for the development of the best traditions of conducting performance. The conducting practice of A. Nikisch’s disciples in Lviv proves that the art of conducting of Halychyna was formed in the European context. The follow-ing were defining in the conducting area: flexible practice of engagement of conductors and, at the same time, engagement of touring conductors in cooperation; orientation towards the best examples of national and world music heritage, frequent appeal to the work of contemporary composers; organic combination by conductors of various types of activities (composing, perfor-ming, teaching and organization); the evolution of conducting education.