The cello school of Georgy Averyanov: facets of artistry

Background. Logical bases of the research are conditioned by actuality of the conception of artistic universalism of creative personality and the doctrine of musicological acmeology. Topicality of the research is concretized through the model of solution of the mentioned problems by the way of studying the structure of creative universalism, which is peculiar to George Averyanov, concert performer, musical editor, head of Kharkiv cello school during 1960–1991, first vice-rector (1968–1975) and rector (1975–1991) of Kotlyarevsky Institute of Arts (nowadays Kotlyarevsky National University of Arts). The innovative element of the research consists in attraction of acme-methodology, namely the acmeocentric approach for determination of originality of creative top in life-creativity of G. B. Averyanov. The aim of the research is to determine the facets of artistry and develop the acmeogram of George Averyanov’s performing and pedagogical life-creativity on the basis of application of the acmeocentric approach. The results of the research consist in development of aspects of performance acmeology, ways of application of the acmeocentric approach with the purpose of building an acmeogram of George Averyanov’s life-creativity, determination of facets of his typical cello style of artistry (conditioned by the system of inherent talents in his nature), the rethinking of the achievements of the four cello schools of Ukraine), the introduction of the concept of “cello romanticism” as a stylistic dominant of the performing personality of the Artist. Conclusions. Acmeological methodology works in full measure after the completion of the life-creativity of the individual, when the life-creative arc, traced by the soul and inspired work of the musician, is shaped. When the researcher’s gaze is distanced (detached) from the life-creativity of the “hero”, it becomes possible to construct an acmeogram of the artist’s performance and pedagogical activity. An analysis of Averyanov’s life work has made it possible to establish the facets of his inherent artistry, formed as a result of interaction between his natural giftings, as well as the musical and cultural chronotopes of Ukraine, generalized in his activity; to define the Kharkiv period as an embodiment of the musician’s performing and teaching acme; to present the structure of universalism, characteristic of his creative individuality as a four-component (“four-activity”, according to O. Komenda,2020): hypostases of concert performer, musical editor, pedagogue, musical activist.