Maikapar biography of the composer

Maikapar A. Samuel Maikapar and his cycle “Tricky” 3 Maikapar A. Source: Maikapar S. Biryulki, op. Bach, “Children's Album” p. P. Tchaikovsky, “Album for Youth” by R. Although the name of Samuel Maikard is widely known, few people know about his life. He was born in Kherson in the city of S. Maikapapa in Taganrog - he studied at the same gymnasium that L. Chekhov Maikapar was then 10 years old.

Maikapar entered the University of St. Petersburg at the Faculty of Law, which graduated from the Conservatory on the advice of Anton Rubinstein S. Maikapar, goes to Vienna to improve with the famous pianist Professor Theodore Leshetitsky. In Vienna, he writes and publishes a number of his works. From the city at this time, S. Maikapara’s scientific work “Musical Hearing” was released for some time S.

Maikapar in Tver, where a children's music school was opened by his efforts. The famous "novels" op. Maikapar lives in Germany. He concerts a lot, composes, is engaged in scientific activities. Among his friends, Arthur Schnebel. Grechaninov, N. Metner, N. Letters and autographs of many of them are stored in our family archive. Maikapar received an invitation from A. Glazunov to teach at the St.

Petersburg Conservatory, S. Maikapar in the city of five years, he becomes a professor in the piano class. Resistance to radical reforms created S. Maikapar's reputation as a conservative. However, it is necessary to imagine the social and ideological background of transformations of the 10ths in order to understand that there was pain and a dessing about high professionalism behind this conservatism.

And G. Maikapar undertaken at that time the fulfillment of the entire cycle from the x piano sonata Beethoven, and in the city of Maikapar leaves the conservatory and devotes himself entirely to the creative work - composition, performing, scientific works. In the beginning of the city, unfortunately, she came out after his death. S. Maikapar died on May 8, he was buried in St. Petersburg on the "literary bridges" of Volkov cemetery.

Created in - gg. The plays of the collection are distinguished by everything that distinguishes true masterpieces - regardless of whether this is a monumental work or miniature - inspiration, the ideal harmony of form, perfect decoration of details. Now few people know what turquoilies are. However, at one time it was a very popular game for children. In the dictionary of V.

Dahl, we read: “Game: a handful of chopped straws, or carved turquers of different types, is placed on the table; The players pull out, alternating, one at a time, without shaking a heap. ” In children's piano literature, the “turquoils” S. Maikara was a predecessor - a piano cycle of 14 miniatures under the same name A. Lyadov so. However, the love and reputation of the classical work was still acquired by the C.

Unfortunately cycle, S. Maikapara comprehended the usual fate of the popular work: they were reprinted many times as in our country almost annually, and abroad - in the USA, Poland, Germany, England, Austria, the Czech Republic and Slovakia, in other countries. At the same time, copyright performing and methodological instructions - applique, phrasing, pedaling - were given in a distorted form.

Each editor considered it possible to replace detailed copyright executive instructions on his own, to make additions to them despite the fact that the autograph stored in our family archive was not known to none of them, and the lifetime publications have long become bibliographic rarity. In this publication, Urtecst, that is, the author’s text, on the basis of a final autograph and a lifetime publication, on the title of which there is a special indication: “with an applique and pedaling of the author”,.

Acquaintance with the drafts of "turquoils" is unusually interesting. They eloquently testify to how the cycle was born and matured. We are convinced that everything was the subject of concern of the composer - from the arrangement of the performing instructions to the appearance of the publication, the lifetime publications of the “turquoils” came out, as the author was conceived, in six separate notebooks, with their unified artistic design.

Understanding how important the imagery is for small musicians, S. Maikapar was very serious about the search for the most vivid names for the plays. It was not always the first to come to mind. So, in the original version, the “anxious minute” was called “anxiety”, “moth” - “elf”, “legend” - “dreams of legend”, “spring” - “baby”, instead of “Gavot”, the play “Moonlight” was first conceived, although the music of these plays did not give reason for such an allusion.

Some plays appeared, as evidenced by drafts, immediately in a complete form, while others were subjected to refinement and processing. So, the “little commander” did not immediately appear: at first “continuous work” was born. She was a melodic grain for the "little commander." The miniature in Fi Minor is now “seven -mile boots” - but the original plan had a completely different musical idea.

The abbreviated recording of many plays in drafts is curious: instead of the fully written repetitions of some episodes, the composer uses the signs of reprise.At the same time, sweaty text is sometimes reduced by half, or even more. It is worth paying the student’s attention to this, since this method greatly simplifies the work of the work by heart: it is easier to remember where what are the repetitions, than to learn the whole text as new material.

Thanks to the habit of S. Maikapa to date his notes, we have a clear chronology of creating this cycle. On the final autograph of the first two notebooks, it is indicated: “Written on June 25, 26, 27. Finished for the press on July 3rd of the year. " Work on the cycle went sequentially - the plays were composed in that obviously, already in the mind, in which they are now known.

The last date is in the play “On the Rink” - March 3, obviously, shortly afterwards, they were not written and the latest plays of the collection were not dated. The chapa took a special place in the piano-pedagogical repertoire, not only thanks to the remarkable artistic features of the plays of the collection, but also due to their great methodological advantages.

This collection is interesting to compare with I.'s cycles as well as the “well -tempered clavier” of Bach, the “tracks” give plays in all x tonalities. However, the constructive principle of constructing “turquoils” is somewhat different. If in a “well -tempered clavier” a new tonality appears as a result of movement from the play to the play according to the chromatic gamut, and thus light and difficult tonality alternates, then in the “turquoilies” the tonal plan of the entire cycle is different.

Maikapar provided several levels of division of the cycle. Firstly, the entire cycle is divided into three series, and secondly, as already mentioned, to six notebooks. Unfortunately, the division into a series in modern editions of "Biryucks" is ignored by editors. So, I series of notebooks 1 and 2 gives plays from tonalities with three dietes; In the II series of notebooks 3 and 4, the same movement from tonalities without key signs to tonalities this time with three boys, and, finally, the III series of notebooks 5 and 6 covers the plays in tonalities from 4, 5, 6 signs.

This decision of the composer again resembles the Bakhovsky reception in the I volume of the “well-tempered clavier”, where Minor follows the prelude to the prelude to the Minor in the Enarmonic equal to the minor re-reveal. Thus, despite the fact that all tonalities are 24, plays in the collection - 26, since the tonality to the Major and la minor as the starting points of movement in the diet and white sides are repeated twice.

It should be noted that all editions of “turquoils” consist of 6 notebooks - each in 4 plays, and in the last - 6 according to the original plan, however, the last two plays showing the possibilities of Enarmonism made up a separate - seventh notebook. In our publication, we noted this harmonious feature of the last pair of plays, as well as the final autograph, indicating the 7th notebook in brackets.

Maikara is a unique cycle of plays for children: he introduces young pianists to all tonalities, as well as the “well -tempered clavier” of Bach, but speaks with them in a romantic musical language. A few words must be said about some features of the author’s text. Maikapar applies a special way to designate the so -called “delayed” pedal “About Ped. In his “pedal preludes” - this systematic and also unique pedaling school - it gives such an explanation to this method and its designation: “Fast substitution is indicated here“ About PED.

It should be noted that in artistic performance, both a slowly replaced pedal, and quickly replaced. Only by ear can the need for some cases of slow pressing the delayed pedal, since only a hearing can be noticed that the rapid substitution - quickly press the pedal after this sound or chord - does not completely cleanse and stops the previous sound. ”