The Neuhauses and Proletarian Culture. Intersection Points
DOI:
https://doi.org/10.31318/0130-5298.2023.49.298975Keywords:
activities of the Neuhaus family, piano art, proletarian culture, confiscation of musical instruments, concerts of Heinrich Neuhaus, registration of musicians, registration of musical instrumentsAbstract
The article, based on the materials of the local press, analyzes the directions of cooperation of the Yelysavetgrad family of Neuhaus with the Bolshevik regime in 1920–1922. The forms and types of cultural and educational work, typical for the period of the dominance of Proletarian culture as an organization of self-made creativity in the artistic field are depicted in a panoramic view - the activities of workers' groups, studios at clubs, the introduction of lectures-concerts with the practical participation of workers, peasants and soldiers. The introduction of the ideas of proletarian culture in the conditions of the destructive phase of the replacement of professional categories by populist tendencies is considered, which led to the leveling of professional musical art, the loss of positions of importance of consistent professional musical education in contrast to accessible amateurism.
The main trends of the musical life of the town of Yelisavetgrad at the beginning of the Soviet regime were analyzed: the introduction of total control for professional musicians, registration of instruments, military service. Found documents regarding the confiscation of keyboard instruments (grand pianos, pianos, harmoniums) with further squandering and complete destruction of valuable piano instruments on the territory of the region are published.
The performing participation of O.M. and G.W. Neuhaus, representatives of their families and former students in the cycles of historical concerts-lectures «Fires» and «Palace of Science and Art» for the proletarian public is described, the programs and the theme of the events are analyzed. The importance of concertsclavierbands, chamber performances-rehearsals of H.G. Neuhaus in Yelisavetgrad is interpreted against a background of the processes of educating a new proletarian audience. The reasons for the voluntary-compulsory return of the Neuhaus family as veterans of the pedagogical field to active concert activity are determined.
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