DOI: 10.7256/2453-613X.2018.4.40275

Abstract: The essay is devoted to the Merited Artist of the RSFSR Ivan Yakovlevich Panitsky (1906-1990), an outstanding virtuoso of bayan, teacher and composer. Panitsky, a vision impaired original musician from the Volgian village Balakovo, was destined to pave the way for Russian bayan to the academic scene, significantly enrich the concert repertoire of professional bayanists. The author of the article traces back the beginnings of professional and spiritual and creative formation of I. Panitsky and reveals the spirituality and poetry of his character which defined the main direction of the musician’s work - the field of instrumental lyrics. The author gives special attention to music events devoted to the famous countryman initiated by the department of folk instruments of Saratov State Conservatory named after L.V. Sobinov. The author uses the historical method to study the musician’s biography and the method of musical analysis of the piece. The author studies Panitsky’s waltzes “Remembrance” and “Dead roses” as the examples of bayan lyrics. The paper describes the typical ways of work with music material revealing the main lyric idea of the piece: its improvisatory character, polyphony of the manner, variations, and the diversity of timbre colours of a bayan. The novelty of the study consists in the combination of the narration of historical and biographical material with the unprecedented analysis of Panitsky’s works in the waltz genre. The author concludes that Panitsky’s background is inseparable from the region of his birth. The strong spiritual bond with his small motherland, its history and traditions, defined the bright individuality and recognizability of the works of the famous bayanist, one of the remarkable representatives of bayan lyrics in the Russian instrumental music of the 20th century.  

DOI: 10.7256/2454-0625.2017.9.23942

Abstract: The essay is dedicated to the famous bayan player, teacher and composer, Honored Artist of the RSFSR Ivan Yakovlevich Panitsky, whose 110th anniversary is celebrated in 2017. The author acquaints readers with musical events dedicated to the outstanding performer, initiated by the Department of Folk Instruments of the Saratov State Conservatory named after L.V. Sobinov. It was Panitsky, a blind natural genius, musician from the Volga village of Balakovo, who was to open the way for the Russian bayan to the academic stage, to substantially enrich the concert repertoire of professional bayan players. His adaptation and variations on the themes of Russian folk songs, settings of works of musical classics for bayan, as well as original compositions form the artistic layer of the national culture. Panitsky's fate is described in the context of his spiritual connection with his birthplace, which determined the main direction of the musician's creativity - the sphere of instrumental lyrics. Attention is drawn to Ivan Panitsky’s outstanding role in the birth of professional bayan training in Saratov. In this essay, the historical method, on the basis of which the biography of the musician is studied, as well as the method of musicological analysis of the work are used. As an example of Panitsky's bayan lyric, the play of Waltz "Reminiscence" is analyzed. The author describes the characteristic ways of working with musical material, revealing the main lyrical idea of the work: improvisation, polyphonic texture, variation, variety of timbre paints of bayan. The novelty of the research is caused by the fact that the author summarizes data concerning the role of the lyrical theme in the works of Ivan Panitsky.

DOI: 10.7256/2454-0625.2016.2.18230

Abstract: The research topic is the history of the theoretical department of the Central Children's Music School of Saratov which will celebrate the 100th anniversary in December 2016. The author of the article describes the post-revolutionary, prewar, postwar and modern stages of the school's development. The author also introduces the founders and leading teachers of the school's theoretical department from the very beginning of the school's foundation. The author touches upon various activities of the members of the theoretical department such as solfeggio, choir, theatricalization and lessons for children. The history of the school's development and impressions of the most important events in the school's life is reconstructed based on literary sources and memories of students who have studied at the music school in different years. The main research method used by the author is the diachronic method allowing to view activities and aspects of music education performed by the Central Children's Music School of Saratov in chronological order. The novelty of the research is caused by the fact that the author has collected and summarized scientific and historical materials on the foundation and development of the theoretical department of the Central Children's Music School of Saratov. The author of the article has described the major milestones in the historical development of the department as well as activity of distinguished teachers who established the tradition of professional excellence in teaching the theory of music.