Yuri Polunin composer biography

The role of the piano concert in the disclosure of the creative potential of students 2. Development of the piano concert genre 3.

Some problems in the work on the piano concert 4. Joseph Yidn. Analysis of the concert of the Major I Part 5. Parishing concertino la minor 6. Conclusion The role of a piano concert in revealing the creative potential of students. Musical education plays a positive role in the development of the personality, creating favorable conditions for the disclosure of creative abilities and characteristics of individual giftedness, because education with means of music is impossible without a creative process, without the development of creative inclinations of the student.

Congenital performing brightness is a sign of undoubted artistic giftedness. It is not peculiar to every student, but in its development, the teacher can achieve positive results, although not equivalent to working with various students. The brightness of execution is a quality that is more related to the emotional beginning. It most successfully develops when working on works that require an emotional turn, emotional emancipation from the performer.

A concert for the piano with the orchestra as “one of the most ceremonial genres of piano music” can best cope with this task. Here is a meeting with the new genre for the student; and a bright imagery, accessible to the teenager, requiring him new pianistic qualities; And the virtuoso beginning - all this captivates the young musician, contributes to his enthusiasm for music and the very process of its performance.

Mastering the genre concerts of the classic piano is one of the best forms of cooperation between the teacher and the student, who brings incomparable joy of joint creativity. Despite the great popularity of this genre among performers, unfortunately there are very few publications devoted to the process of teaching the study of the piano concert. Development of the genre of piano concert concert work, it.

Konzert, from Ital. Concerto -literally a consistency of voices, from lat. Concerto - I compete. This is a work for many performers in which a smaller part of the participating tools or votes is opposed to most of them or the entire ensemble, standing out due to the thematic relief of the musical material, the colorfulness of the sound, the use of all the possibilities of instruments or votes.

Outstanding composers who wrote the first concerts were Vivaldi, Bach, Gandel. In the second half of the 18th century, a classic type of solo instrumental concert was formed, clearly convicted of Viennese classics. The concert was established in the form of a sonata-symphonic cycle, but in a kind of refraction. The concert cycle, as a rule, totaled only three parts, in it there was no third part of the full four -part cycle, that is, Menuet or Scherzo.

Some features of the construction of individual parts of the concert were also established. In the 1st part, the principle of double exposition was used - at first the topics of the main and side parties sounded in the orchestra in the main tonality, and only after that in the second exposition they were presented with the dominant role of the soloist - the main party in the same tonality, and the side party in another, corresponding to the Sonatnaya Allegro scheme.

The comparison, the competition of the soloist and the orchestra took place mainly in development. Compared to the patterned samples, the very principle of concerting has changed significantly, which has become more closely related to thematic development. The concert provided for the improvisation of the soloist on the topics of the essay, the so -called cadence, which was located at the transition to the code.

In Mozart, the texture of the concert remained predominantly figure, melodized, transparent, plastic. Beethoven's voltage is executed in accordance with the general dramatization of the style. Both Mozart and Beethoven avoid any stamp in the construction of concerts, often moving away from the characterized the principle of a double exposition. The concerts of Mozart and Beethoven make up the highest peaks of the development of this style.

In the era of romanticism, a departure from the classical ratio of parts in the concert is observed. Romantics created a single concert of two types: 1. The bright examples of a romantic poem of a one-handed concert created F. The romantic art of the first half of the 19th century worked a special series of colorful decorative virtuosity, which has become a stylistic sign of the entire course of romanticism.

Concerts are created for almost all European tools -formpiano, violins, cello, Alta, double bass, wooden and copper winds. Glier belongs to a very popular concert for the voice with the orchestra. Soviet composers wrote concerts for folk instruments - balalaika, domra. In Soviet music, the concert genre was enormous in various typical forms and is widely represented in the work of many composers Sergei Prokofiev, Dmitry Shostakovich, A.

Khachaturian, D. Kabalevsky, N. Myskovsky, T. Khrennikov, etc.The reasons for the spread of the genre are its democracy, brightness, concert. Works of the concert genre for children are a large number. Among them: for elementary grades: I. Concert to Major; A. Miniature concert Sol Major. Kasimov "Youth concert"; N. Concertino la Minor; E. Concert of memory of Sergey Prokofiev.

Concerts for a clavier with an orchestra number 5.4.7 and re -minor; th. Concert R Major; in. Concertino for two piano la minor; D. Fantasy on the topic of Ryabinin; G. Some problems in the work on the piano concert. Musicians - teachers are well aware that the development of musical abilities in particular musical hearing, rhythm, and the development of stability performed are more intense when studying ensemble works, which is a concert for the piano with the orchestra.

The most important thing is that the soloist performs a leading party in him, which may interest students. When studying concerts, it is necessary to find out the role of a party of socialists in all sections of the concert: where it has a leading meaning, where a subordinate, accompanying, where a duet equal to the orchestra, roll calls or imitation with or an instrument. For this, it is necessary that the students study the piano party not in isolation from the orchestral, but as part of a single artistic whole.

It is necessary to accustom it in high school at the first reading of the text of the concert to lose the whole essay from beginning to end, including orchestral expositions, and all Tutti, or to ensure that he clearly knew the orchestral party by ear. You should listen to the concert in the record so that the student clearly imagines the real timbre sound of the orchestra.

To do this, you should pay attention to the instrumentation of the most important topics or escort in the most characteristic places. The concert style of presentation requires a greater scope and virtuosity than chamber works. All these features determine the important role of the concert genre in raising the pianist, develop the feeling of an ensemble, rhythm, timbre hearing, the manner of the game “Close -up”.

Alfred Corto, the famous French pianist, teacher, wrote that the performer according to him, is an “aviator”, looking around the area from a height of the flight, and at the same time a wanderer, and a pedestrian who sees the smallest details and features of the terrain. So, in the work on the work, the interpreter must do three actions. First rise up to see the terrain, its relief, common contours.

Then go down, go along and across the area to see everything, feel and remember. And finally, get up again so that at the time of transfer of the work, embodying the general picture, to fulfill the smallest characteristic features of the work. Details occupy the interpreter only in the second stage of work. At first, the end of the work is the coverage of the whole.

Rakhmaninov emphasized that, “proceeding to study the new work, it is extremely important to understand its general concept, try to penetrate the main plan of the composer. The focus on work on the technical mastery of the work should be the study and development of all elements of the musical text, the development of texture, and the formation of game movements. This stage is the most difficult and laborious.

The teacher’s responsibility here is very great. Particular attention must be paid to the definition of a rational applique, having repeatedly checked it in technically complex places. The work must be built in such a way that in the course of it the characteristic features of each batch and the entire work as a whole are more deeply opened. At this stage of work, it is useful to learn to control and check certain movements, techniques, passing everything through the control of your consciousness.

When the student achieves the so -called automation of performing skills, in the future this facilitates the executive process and allows you to switch attention to the tasks of the artistic plan. This etoprabotes usually consists that the work is more often performed by a entirely intended pace. All achieved boils together. Work on composing at this stage should, of course, occur by heart and, as often as possible with a partner.

It is now, the creative nature, the individuality of the student, its temperament, inspiration and will are especially pronounced. The plan for its execution planned at the first stage of work on the work, by the time of the final stage, a number of changes are checked and undergoes, the student is “getting used to the image” deeper. If earlier the teacher had to avoid making all the comments at once, now, after the “end -to -end design” of the student’s work, he seeks to fulfill all the instructions of the teacher: to drain all the parts, all the developed details in one artistic whole; To achieve the integrity of the artistic impression, however, the student should avoid monotony and monotony.

Skryabin - it is one today, and tomorrow another, like the sea. " Analysis of the concert R Major I part Joseph Gaydn outstanding representative of the Vienna classical school.In his works, he used genuine folk melodies, significantly their modifications, and also created his own melodies in the spirit and nature of folk songs. The most characteristic of the musical works of Haydn are the images of the Austrian peasantry and life in the village.

In his music, we hear not the hard work of the peasants, but the paintings of a peaceful happy life: dances, round dances, pictures of nature. The people never lose optimism - and Haydn expressed this joy in their music. Haydn has about 50 concerts for piano, violin, cello, wind instruments. Haydn’s concert is a three -part cycle of a sonata allegro, a slow part, a quick finale.

The work is written in three -part form: the first part is Vivace, the second part is un poco adagio, the third part is Rondo Allegro Assai. Let us dwell on the first part.