Leontovich capellas of Sumshchina within the framework of Soviet epoch art policy.
Background. In recent years, there has been an increasing interest in the Ukrainian music background. Among the least studied periods are 20-ies of the XX century – the beginning of new society building, adoption of socialist ideology. It is the very historical epoch when choir art of Ukraine livened up. Most of capellas were named after Ukrai-nian composer – Nikolay Leontovich (1877–1921). They were seeking to follow the musician`s activity in spreading Ukrainian folk songs, in getting large sections of the public involved in choir art. Such capellas could be found in Sumshchina as well. Objectives.The objectives of this study are to determine art priorities of Leontovich capellas of Sumshchina within the framework of Soviet epoch ideological diktat and to generalize their activity on the basis of archive sources which were never under scien-tific study before. Within the framework of general tendencies of political put-up job of the state the choir performance in Sumshchina was developed. In February 1919 here the Depart-ment of All-Ukrainian Music Professionals Union under the M. Kropivnitskiy drama theatre was opened, the Ukrainian capella under the guidance of V. Elkone was orga-nized. Next year a capella was created under H. P. Zatyrkevich-Karpinskiy Ukrainian folk theatre in Romny town. It was generally appreciated in Sumshchina and far beyond. Romny capella like many other capellas of that time, consisted of choir art amateurs – workers and employees. It was headed by Andrey Titovich Volikovskiy (1888–1963). While being created the capella consisted of near seventy singers. Apart from Ukrainian operas, the choir performed a big deal of Ukrainian folk songs and N.Leontovich`s part songs. In September 1922 the theatre capella was reorganized and presented a separate independent capella. The choir gave 45 concerts, made 18 tours in the villages of the region during the first year of activity. January 10, 1923 (in commemoration of the second anniversary of N. Leontovich`s death) capella was named after this outstanding Ukrainian composer. In course of time the tour routes of the artists included Poltava and Donetsk regions. The capella gave concerts successfully in Dnepropetrovsk, in the Caucasus and in the Crimea. At First Choir Games (1929) the chapella was considered to be the best one and in two years it became the winner at All-Ukrainian Choir Games (Kharkov city, 1931). Ac-cording to results of this success the chapella entered the list of state music bands called «The N. Leontovich State Model Capella”. Choir art with its large scale involvement, with special love of all the sections of people to it had unique possibility for ideological education and influence in the So-viet society formation epoch. That’s why the repertory of capellas included proletarian themes of the song genres along with Ukrainian folk songs arrangements. The capella accounted to district party committee every year. As local authorities considered it was the only agitation-artistic choir organization in Romny district which played special role in educating workers and peasants, spreading revolutionary song, revolutionary ideas and proletarian ideology. Romny choir capella formation and the N. Leontovich folk choir academy founda-tion in September 1922 happened almost simultaneously. The academy provided: choir class (to teach skilled choristers, a 3-year course), conductor`s class with preparatory department (to prepare choragi, a 3-year course) and model capella. Training was ruled by regulations on the work of the classes and detailed programs for each subject. So, future choragi studied: Music theory, Harmony, Solfeggio, Counterpoint, Can-on, Fugue, Musical forms analysis. They learned to play the piano and violin, improved the skills in choir singing. Individuals who finished conductor`s class and passed all the exams satisfactory established themselves as choir singing teachers and choragi. Choir class programs were not very difficult. Choristers studied Music theory and Solfeggio, familiarized themselves with the piano. The basic studying of this class were voice training, classes in breathing and choir singing. Graduators had to be able to sing from music accompanied by an instrument and a capella, to learn the choral parts, oper-atic works, fragments from oratorio and wind concerts themselves. One would think that formation of such establishment as Choir academy should be aimed to train professional musicians and to popularize Ukrainian folk song. However, as well as all social institutions of totalitarian society Sumy choir centre contained ideological component. It was emphasized for many times in the documents of the educational establish-ment that creation of “collectivist spirit” and suppression of “slightest display of individual-ism” was first and foremost which was according to ideology demands of Soviet period. Results.The results of the research support the idea that the activity of capellas in Sumshchina was according to ideology demands of Soviet period. Conclusions.We conclude that rapid development of choir art in the 20-30-ies of the XX century was exploited by Soviet authorities. Slogans with propaganda of Ukrai-nian national art, as a rule, implemented communist ideology. Attracting a considerable part of urban population and peasants to choir singing distracted them at the same time from existing financial difficulties, because in Ukraine the 1921-1923 were marked by famine and it was doubtful that as in Kryliv`s fable, someone “has got the idea to sing on empty stomach”. However, choir art took deep roots. It`s flowering took place in 60-70-ies of the XX century.