Фортепіанний концерт А. Гензельта в мистецько-освітньому просторі доби
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Дата
2019
Назва журналу
Номер ISSN
Назва тому
Видавець
ФОП Цьома С. П.
Анотація
У статті висвітлюється період перебування видатного німецького піаніста Адольфа фон Гензельта в 1838-1888 роках у Петербурзі. Аналізується його композиторська, педагогічна та просвітницька діяльність цього періоду. Розкривається основний підхід педагогічної практики Гензельта – виховання не окремих, виняткових піаністіввіртуозів, а технічно оснащних і грамотних музикантів у цілому. Відзначається, що педагогічні принципи Гензельта і діяльність його учнів відіграли важливу роль у розвитку музичної освіти того часу. Констатується, що результатом роботи знаменитого німецького віртуоза й педагога в Росії стало створення вітчизняної фортепіанної школи XIX століття. Аналіз Концерту для фортепіано з оркестром f-moll ор. 16 А. Гензельта надає уявлення про характерні риси композиторського й піаністичного стилю автора. Виконавські та технічні завдання, які вирішують виконавці під час вивчення концерту, свідчать про органічний взаємозв’язок між педагогічною та композиторською творчістю автора.
The article highlights the period of stay in St. Petersburg of the outstanding German pianist Adolf von Henselt in 1838-1888. A virtuoso pianist, teacher and composer who lived almost his whole life in the Russian Empire, he not only felt the new style, but also introduced it into his works, concert-performing style and pedagogical activity. The founder of the Russian piano school A. L. Henselt as a pianist by nature had unusual qualities, which, obviously, influenced his specific technique. In his teaching and partially composing practice, A. Henselt developed his own system of a pianist upbringing. From pianistic techniques aimed at developing freedom of performance and finger strength, he used various types of scales and exercises for stretching his arms and flexibility of joints. With considerable attention to the technical training of students, at the same time, one of the main settings of Henselt was education of the musician as a whole. Among the piano works of A. L. Henselt in the second half of the XIX century, one of the most popular was his Concert for piano and orchestra f-moll op. 16. The work, published in 1847, was a great success with artists and the public almost until the end of the XIX century, but in the next, XX century it was forgotten and almost never performed. The vivid contrast of thematism, the gradual dramatic development of music, the complex interweaving of musical material between the parts of the soloist and orchestra, which are characteristic features of A. Henselt’s composer style, required great skill and concentration in the performance. In this work, the composer set a difficult task for the soloist in terms of performing and pedagogical skills. Mixed textured exposition in the piano part, constant dynamic contrasts, varied musical themes, a wide range of piano techniques combined with soft sound production even in the most dramatic moments of a work, which is characteristic for Henselt’s pianism – all this requires a high level of knowledge of the instrument from the performer. An analysis of the concert led to the conclusion that A. Henselt developed his own piano and composer style, no less original than that of F. Liszt, F. Mendelssohn or F. Chopin. However, in the process of composing music, A. Henselt solved pedagogical problems, subordinating creativity to his main activity.
The article highlights the period of stay in St. Petersburg of the outstanding German pianist Adolf von Henselt in 1838-1888. A virtuoso pianist, teacher and composer who lived almost his whole life in the Russian Empire, he not only felt the new style, but also introduced it into his works, concert-performing style and pedagogical activity. The founder of the Russian piano school A. L. Henselt as a pianist by nature had unusual qualities, which, obviously, influenced his specific technique. In his teaching and partially composing practice, A. Henselt developed his own system of a pianist upbringing. From pianistic techniques aimed at developing freedom of performance and finger strength, he used various types of scales and exercises for stretching his arms and flexibility of joints. With considerable attention to the technical training of students, at the same time, one of the main settings of Henselt was education of the musician as a whole. Among the piano works of A. L. Henselt in the second half of the XIX century, one of the most popular was his Concert for piano and orchestra f-moll op. 16. The work, published in 1847, was a great success with artists and the public almost until the end of the XIX century, but in the next, XX century it was forgotten and almost never performed. The vivid contrast of thematism, the gradual dramatic development of music, the complex interweaving of musical material between the parts of the soloist and orchestra, which are characteristic features of A. Henselt’s composer style, required great skill and concentration in the performance. In this work, the composer set a difficult task for the soloist in terms of performing and pedagogical skills. Mixed textured exposition in the piano part, constant dynamic contrasts, varied musical themes, a wide range of piano techniques combined with soft sound production even in the most dramatic moments of a work, which is characteristic for Henselt’s pianism – all this requires a high level of knowledge of the instrument from the performer. An analysis of the concert led to the conclusion that A. Henselt developed his own piano and composer style, no less original than that of F. Liszt, F. Mendelssohn or F. Chopin. However, in the process of composing music, A. Henselt solved pedagogical problems, subordinating creativity to his main activity.
Опис
Ключові слова
фортепіанний концерт, виконавське мистецтво піаністів-віртуозів, педагогічні принципи А. Гензельта, російська фортепіанна школа ХІХ століття, piano concert, performing art of virtuoso pianists, pedagogical principles of A. Henselt, Russian piano school of the XIX century
Бібліографічний опис
Стахевич, Г. О. Фортепіанний концерт А. Гензельта в мистецько-освітньому просторі доби [Текст] / Г. О. Стахевич, О. К. Зав’ялова // Актуальні питання мистецької освіти та виховання : наукове видання / МОН України, Сумський державний педагогічний ун-т ім. А. С. Макаренка ; [редкол.: Г. Ю. Ніколаї, А. Валюга, Н. П. Гуральник та ін.]. – Суми : [ФОП Цьома С. П.], 2019. – Вип. 1–2 (13–14). – С. 32–42. – doi: 10.24139/978-617-7487-53-0/2019-01-02/032-042.