Mykola Lysenko’s Accompanist and Ensemble Activities in the Context of the Foundations of His Performing Work

The purpose of the article is to explore the little-known areas of performing work of the famous Ukrainian composer Mykola Lysenko — his accompanist and ensemble activities. Research methodology. A system analysis, which combined analytical, culturological, and observational methods, was applied. Scientific novelty. The research is the first experience of a special analysis of Lysenko’s performing practice as an accompanist and ensemble player in domestic musicology. Conclusions. It is proved that Mykola Lysenko paid considerable attention to the types of chamber music. He was both an excellent ensemble player and accompanist in various fields (working with the choir, reading and performing orchestral scores translated for the piano, performing with instrumentalists, vocalists, opera accompaniment, four-hand piano playing). From the point of view of a thorough analysis of the outlined performing varieties, two more facets of the artist’s talent are highlighted. The article examines the accompanist and ensemble practice of M. Lysenko based on the epistolary heritage and memories of contemporaries (colleagues of the Leipzig Conservatory, choir members, witnesses, and co-performers at private parties, concerts of the Literary and Artistic Society, the Ukrainian club, those he taught at the Music and Drama School and privately), and preserving the authenticity of the texts. The issue is being addressed in the context of postulates of these types of performance and awareness of the importance of familiarising Ukrainian researchers and performers with the work of Lysenko as an accompanist and ensemble player, filling in the existing gap in the history of domestic musicology and performance, expanding the worldview of piano accompanists and ensembles.