Professional pianist. Youth Personnel Center

Description:

Pianist (-ka) - a musician, a performer on the piano. Professional pianists can perform as independent performers, play accompanied by an orchestra or ensemble, or accompany one or more musicians.

Pianists usually start learning to play the instrument as early as early age, some sit down at the piano as early as three years old, resulting in the development of a "wide palm" at a more mature age, that is, more developed hands with increased stretch of the fingers, which makes it seem that the pianist's palm is larger.

"Broad palm" and narrow long fingers are also considered one of the signs good pianist. Many famous composers were also talented pianists. For example, Franz Peter Schubert, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Liszt, Johann Brahms, Frederic Chopin, Robert Schumann, Sergei Rachmaninoff and other composers were piano virtuosos.

Most pianists specialize in the music of certain composers or times. However, the repertoire of many pianists is not limited to classical music, but includes works of such styles as jazz, blues, and popular music.

Famous and great pianists:

• Prokofiev Sergey Sergeevich
• Weber Carl Maria von
• Goldmark Peter
• Rubinstein Artur
• Rachmaninov Sergei Vasilievich
• Debussy Achille-Claude
• London Jack
• Balakirev Mily Alekseevich
• Skryabin Alexander Nikolaevich
• Grieg Edvard

Responsibilities:

The duties of a pianist are the professional performance of musical material.

In addition to this primary responsibility, he takes part in the development thematic plans and speech programs

He can also conduct teaching activities.

Requirements:

Personal qualities

Playing the piano requires the student to have such personal qualities as musical talent, firmness of character, will, determination, the ability to work long and concentrated, and think interestingly.

Professional knowledge and skills

A pianist must be proficient in extensive material, freely navigate it, feel and understand various musical styles.

Education

The diploma of the pianist, who continued his studies at the conservatory, is: soloist, accompanist, ensemble player and teacher of the music school.

Pianist-soloist wins the right to perform with solo concerts on music competitions or fruitful work in educational institutions and concert organizations (Mosconcert, Lenconcert, etc.). But he must confirm the right to enter the philharmonic stage with each of his performances. And this is achieved by titanic work, constant improvement of skills, self-education and self-development. In addition to high professional qualities, excellent technical equipment, a good school (for which physiological data mean a lot - the structure and shape of the hands, the size of the hands, the length of the fingers), the pianist-soloist must have a bright creative personality to be a person.

Individuals are not born, individuals are made. From what a man is, what are his moral principles how firm his convictions and strong character depends on the scale of the personality. And this scale is clearly visible in the work of any performer, including a pianist.

ME AND MY PROFESSION

• 1) PROFESSION - MUSICIAN.

• 2) BENEFITS OF THE PROFESSION MUSICIAN.

• 3) MINUSES OF THE PROFESSION MUSICIAN.

1) PROFESSION - MUSICIAN.

At all times in Rus', and not only, jesters and musicians (buffoons) lived best, because humor and music are the things on which the feeling of human happiness and joy depends much more than on financial and emotional security. But life philosophy, which allows one to devote oneself to the almost always unstable and low-paid profession of a musician, is rare, which is why boys and girls, men and women with a musical instrument in a bag on the street always make passers-by turn around.

A professional pianist (specialty - piano) can be qualified as an accompanist, soloist, chamber ensemble artist, concert soloist, as well as a teacher. Region professional activity - musical art. The main task of the performer is to convey the composer's idea, to convey it to the listener through playing the piano.

A professional musician must have the skills to perform musical works using various playing techniques; the skills of analyzing a musical text in order to preserve, transmit during performance piece of music his stylistic features. When working with a vocalist, the accompanist is required to know the specifics of the performance, vocal repertoire, the ability to competently accompany. Working with instrumentalists requires the ability to work in an ensemble. The musician is also involved in the creation musical arrangement and accompanying cultural events.

Characterized by a static working posture, load on the spine and arms. Concertmasters are in demand in educational and cultural institutions. As teachers, musicians are also easily employed in schools, institutions additional education, as well as in specialized musical educational institutions. It is possible to work as a concert performer - a soloist or as part of ensembles.

Should be able to

Should be able to

• Perform works on musical instruments in various playing techniques, understand the idea of ​​a musical work and express its image and emotional depth, work individually and in an orchestra, etc.

Professionally important qualities

• ear for music;

• sense of rhythm;

• musical memory;

• good coordination;

• motor fluency;

• perseverance, patience, purposefulness;

• developed imagination, creativity (tendency to improvisation);

• pedagogical abilities.

Medical contraindications

• hand diseases (arthritis);

• reduced hearing;

• severe scoliosis with contraindications to work in a static position and heavy loads on the spine and arms.

Ways to get a profession

• Music school, college.

Related professions

• Soloist, chamber ensemble artist, music teacher, singer.

2) BENEFITS OF THE PROFESSION MUSICIAN.

1) The musician gives joy and inspiration.

2) Music changes the mood of people, interacts with their feelings.

3) Music purifies the human mind. A real musician helps this life, this world to be brighter and he lives and breathes only this.

3) MINUSES OF THE PROFESSION MUSICIAN.

It is very difficult to make money with music, in general it is physically difficult, they are often rude to them. True, they also often praise, but this is not always a plus. The instability of earnings sometimes makes you tighten your belt or go to the transition with a cap (panama hat, hat, etc.). In addition, "Don't shoot the pianist - he plays as best he can" - an appeal that, not unreasonably, hung in many Texas bars during the days of the Wild West. Today you have a bad voice, tomorrow “and sing a demobilization song ...”, the day after tomorrow they can “meet” with a knife. Our drunken people in these kinds of establishments are not always kind, affectionate and generous with tips. And yet understanding human soul in combination with the mind and ingenuity sometimes works wonders. That is why, on the verge of the conscious and the subconscious, you can always find and press on that point that will remind a person of his humanity, even if he is drunk to smithereens and just as stupid. Who, if not a musician who plays on human emotions, on nerves with the same ease as on the strings of his guitar (violin, cello, etc.), should know these points?

So even the cons have their pros. Sing, play, live not only for yourself, but also for others, and may you be happy.

4) I CHOOSE A PROFESSION MUSICIAN.

And even if this profession is not so highly paid, even if it is unstable and will not provide me with a decent pension, but that is not the point. The bottom line is that every time I go to work, I will do it with a sense of the rightness of what is happening. After all, a musician is one of the few people who are able to experience their emotions not on their own, not alone, but to share them with the whole world, with everyone who hears the sound pouring from his instrument.

I want to become a musician, or rather, a pianist.

"In order to make music and achieve success in this business, said Tchaikovsky, one must have talent, hearing, musical inclinations. It is impossible in art without patience and perseverance."

Indeed, what are all the scales worth, technically complex etudes. It is especially difficult at the very beginning of your journey to overcome the problems of adolescence. For example, many of my friends, while studying at school, gave up music lessons and now regret it very much. Indeed, in addition to the actual piano lessons, it is necessary to attend solfeggio, vocals, music history, choral classes.

Not everyone will be able to give their strength to such a thorough work. But music lessons are worth it, because they bring tremendous pleasure. Being in this environment, you feel a special atmosphere, meet many interesting and creative people. The profession of a musician is very attractive to me, and perhaps I would like to try myself in this activity.

orchestra or ensemble , accompaniment

• Professional pianists can perform as independent performers, play accompanied by orchestra or ensemble , accompaniment

In fact, all professional diseases of art workers, no matter which one: whether it be music, theater, art or something else, are very scary and most of them are chronic. And we must pay tribute to these people who are ready to sacrifice themselves for the cause of life, for the sake of beauty, so that you and I can enjoy and at the same time receive an aesthetic, cultural education.

Many pianists suffered from hand diseases. It is known that Scriabin's right hand hurt for a long time.
Frequently occurring hand diseases associated with overexertion, such as tendovaginitis and ganglia, are well studied.
Tendovaginitis occurs from a prolonged load on the hand when playing octaves and chords, especially in fast pace. The hand is equipped with numerous muscles, the tendons of which are located close to each other on the hand. Each tendon is inserted like a sheath, a sheath of elastic and dense connective tissue. The inner surfaces of the shells are constantly irrigated with the so-called synvial fluid. With prolonged monotonous work in these shells, conditions are sometimes created for inflammatory changes that disrupt the normal mobility of the tendons and lead to painful swelling and edema of the surrounding tissue. Recurrent and long-term tendovaginitis can take the form of a chronic disease that is difficult to treat.

Ganglia are formed on the back of the hand, at the junction of the small bones of the wrist. The fluid that lubricates the articular surfaces of these bones, with excessive swings of the hand, is strongly released and accumulates under the ligaments, forming dense, often painful nodules.
Often there are violations on the part of the neuromuscular apparatus, causing a feeling of pain in the muscles of the hands during prolonged playing of technically difficult pieces. This is what happened with Rachmaninoff. In a letter to I. Morozov, he writes: “I am very tired and my hands hurt. Over the past four months, he gave 75 concerts. Every extraneous movement of the hands tires me, so I am writing to you, wild< туя» .
Pain in the muscles can appear in the pianist and in that case when, after a significant break in the game, he immediately begins to work on a difficult work or tries to perform a technical task beyond his strength without appropriate preparation.
With timely rest, such painful phenomena can quickly disappear, but with strong and prolonged muscle tension, especially if it is combined with incorrect techniques, the pianistic movement may be disturbed.
In this case, we can talk about an occupational disease that requires special treatment. It manifests itself either in painful spastic tension of the muscles of the arm, or vice versa in its weakness, the so-called paresis. Pathological phenomena occur precisely during the performance on the piano, other movements, dissimilar to pianistic ones, are performed freely.
This disease is still little studied. It can be assumed that it is similar to writing spasm, which occurs from overwork during prolonged writing. Both this disease and writing spasm cannot be considered as a local disease of the hand.

With this disease, there is no organic damage to the muscles, joints and nerves; violation of movement in the pianist's hand is a consequence of a violation of the patterns of excitatory and inhibitory processes in the central nervous system during the construction of a motor act. In this case, the entire functional system that forms pianistic movements suffers.
Such a painful condition manifests itself in two forms - spastic and paretic. The spastic form is characterized by painful overstrain of the muscles of the pianist's hand, which appears when playing the piano. At the same time, the pianist loses freedom, accuracy and unity of movements. In the future, the increasing overstrain in the muscles of the arm turns into a tonic cramp (clamp).
With the paretic form, weakness appears in the pianist's hand during performance, which gradually increases, trembling may join this. As a result, strength and accuracy of movement are lost. In both cases, the pianist is forced to stop playing.
The paretic form arises mainly as a result of overwork during a long game without interruptions with monotonous techniques.

Muscle weakness in the hands with a paretic form is physiologically explained by the fact. that with excessive and prolonged irritation of certain foci of the nervous system, excitation turns into a kind of persistent inhibition (parabiosis according to Vvedensky). Therefore, the paretic form is a deeper movement disorder than the spastic one.
In the future, such weakness can become persistent and spread to other muscle groups.
In the spastic form, we see the predominance of the process of excitation over inhibition - an excessive and inappropriate flow of impulses from the central nervous system to the muscles.
The third and fourth chapters show how the incorrect construction of pianistic movements adversely affects the performance. These same mistakes can be a source of occupational disease if they are repeated many times and turn into the wrong skill. Here are a few examples of such mistakes:
1. The habit of keeping the shoulder girdle raised during the game, causing restriction of the movement of the scapula and shoulder joint.
2. Pressed to the body or excessively abducted elbow, which limits the function of the shoulder joint.
3. The desire to produce a strong sound with the fingers without sufficient participation of the upper links of the pianistic apparatus.
In the first two cases - when fixing the scapula and shoulder joint - static tension may occur in the muscles of the shoulder girdle, which is not replaced by relaxation, a clamp, which is often accompanied by pain. When the movement of the shoulder is limited, its function is partially forced to perform by the forearm and hand, the weaker parts of the arm, not adapted for this work. As a result, premature fatigue occurs in them, which in turn can lead to muscle spasm or weakness.
In the third case, the pianist makes unbearable demands on the weakest links of the pianistic apparatus that do not correspond to their capabilities, causing overstrain and overwork in the forearm, hand and fingers.
In all the above examples, there is a violation of synkinesis (coordination) of movements in different parts of the arm, which leads to discoordination in the nerve centers and is a prerequisite for the development of coordination neurosis.

Very important in the development of coordination neurosis is general fatigue, and even more so overfatigue, in which movement is always disturbed to one degree or another.
It is interesting, therefore, about the opinion of I. Hoffmann. He believed that in a tired state of mind and body, we completely lose the ability to notice the formation of bad habits, and since "learning means acquiring the right habits of thinking and acting," we should beware of everything that could impair our vigilance in relation to bad habits ".
Indeed, with a strong general fatigue, the will and attention weaken, apathy and absent-mindedness appear. We cannot concentrate for a long time, we lose the clarity of thought. All these mental disorders affect the movement, it becomes fuzzy, inaccurate, slow. Work efficiency is drastically reduced.
Fatigue occurs as a result of prolonged and strenuous work, both mental and muscular, and in both cases, in the absence of timely rest, it can spread to the entire body. There is no fundamental difference between muscular (physical) and mental fatigue.
In both cases, the nervous system suffers - the patterns of the inhibitory and excitatory processes, their strength, balance, mobility, and the ability to spread and concentrate nervous energy are violated. This affects the function of those organs that are controlled by the corresponding nerves, reducing their ability to work.
The appearance of fatigue Pavlov considered as a signal to stop activity and the need for rest, and rest as a protective inhibitory state. Rest however is not just shutting down activity; during rest, nervous energy is restored.
It is necessary that in the phase of inhibition there is a compensation of the energy expended in the phase of excitation for the action. This is the balance of these two processes. When this rhythm is disturbed, fatigue sets in. If, trying to overcome fatigue, do not interrupt activity, continuing to keep the nervous system in a state of excitation, then the expenditure of energy in it increases more and more and its exhaustion occurs.

Due to prolonged overexcitation, the natural inhibitory reaction may not occur. It is known that often with pronounced fatigue, a person cannot fall asleep. This condition is characteristic of overwork and is already painful, requiring special treatment.
A performing musician has both muscular and mental fatigue, since his work combines mental and physical stress.
Fatigue can come unnoticed by the performer: his movements become less clear, errors appear. In this period, the musician often overestimates his strength, does not take into account his functionality and continues to work, which further exacerbates fatigue. In the future, the accuracy and clarity of movements are even more violated. It was precisely this condition that Hoffmann spoke of when he warned of the danger of "formation of bad habits."
If during this period the musician does not stop working, then he will experience overwork with all its consequences. A musician's emotional state is very important for maintaining his ability to work.
With enthusiasm for work, he can forget about food, rest and sleep and not feel tired. Emotional rise, as it were, mobilizes his mental and physical energy. With negative emotions - an anxious state, self-doubt, the ability to work quickly falls, fatigue sets in sooner. Disturbance of coordination in motive system is characteristic also. Everyone knows that in a bad mood nothing goes well, "everything falls out of hand."

Emotions play an important role in the development of coordination neurosis. As already indicated, negative emotions disturb the balance of the nervous system and contribute to discoordination in the motor apparatus. The inability to engage in professional activities during this illness depresses the pianist. Sometimes on this ground comes a real neuropsychic state with depression and sleep disturbance. Naturally, this contributes to further discoordination of the pianistic apparatus.
We see that the reasons for the emergence of a coordination neurosis in a pianist are three things: incorrect working methods, overwork, and a disorder of the nervous system. However, they develop under the condition of a combination and duration of exposure to these three factors. Accordingly, treatment should be aimed at simultaneously restoring the balance of the nervous system and the function of the diseased hand.
Treatment should be complex - medicines, physiotherapy are used, hydrotherapy is especially important. Plays a leading role Physical Culture. It raises the general tone, improves coordination not only in the neuromuscular system, but throughout the body, regulating all its functions. The pianist needs to regain power over the movement of the hands, to restore the clarity, coherence and beauty of the pianistic movement.
The main condition for successful treatment is the complete cessation of pianistic work for the entire duration of treatment. Only when resting from professional activities can the correct coordination connections be restored.
Other movements that cause increased tension and fatigue in the hands (lifting and carrying heavy weights, long writing) should also be limited. The affected arm should rest as much as possible.
However, some sports that do not involve arm strain are very beneficial. The pianist is recommended walking, hiking, swimming, skiing, skating, some types of athletics (running, jumping). To avoid hand injuries and overstrain, gymnastics on apparatuses, especially on uneven bars, horizontal bars and rings (stops, hangs), discus, hammer, shot, rowing, basketball and volleyball should be avoided.
To restore the functions of the hands in case of coordination neurosis, it is necessary to apply a course of special gymnastics, which should be combined with hydrotherapy and massage.
Treatment can be divided into three periods. In the first period, the task of treatment in the spastic form is to reduce the tone of overstrained muscles, while in the paretic form, on the contrary, to strengthen the weakened ones. In the second period, with both forms, the development of correct coordination. In the third - for both forms - further development of coordination with the complication of movements and the transition to outdoor games.
In the future, when the pianist has regained control of the movement, he can begin to play the piano. At the same time, it is necessary to strictly observe the mode of work - at first play 20-30 minutes a day at a slow pace, avoiding those movements that caused the disease.
The load must be increased gradually, carefully. Attention should be paid to the fact that the repertoire at this stage does not contain technically difficult works that require great strength and the same type of movements.
The entire treatment process should take place under the supervision of a physiotherapy doctor, and therapeutic exercises under the guidance of a methodologist.
Musical educational institutions should have sports classrooms of a special profile, where the specifics of the musician's work would be taken into account.
To prevent occupational diseases the most important factor is the correct working order. This is discussed in detail in the fourth chapter. Here it is necessary to dwell on the question of how to relax the pianist during work.
Most people do not know how to rest even while sitting and lying down. This depends on the fact that, even in inactivity, the muscles are in a certain tension and, sending nerve impulses to the brain, keep it in a state of excitation. The performer needs to be able to relax the muscles. To do this, he needs to use every minute of rest, not only in the breaks between classes, but also when moving from one piece to another, and even during pauses. In sum, these short periods of rest compensate for a significant expenditure of energy, maintain potential activity gaming machine and health of the performer.

A professional pianist (specialty - piano) can be qualified as an accompanist, soloist, chamber ensemble artist, concert soloist, as well as a teacher. The area of ​​professional activity is musical art. The main task of the performer is to convey the composer's idea, to convey it to the listener through playing the piano. A professional musician must have the skills to perform musical works using various playing techniques; the skills of analyzing a musical text in order to preserve, transfer its stylistic features during the performance of a musical work. When working with a vocalist, an accompanist needs to know the specifics of the performance, the vocal repertoire, and the ability to competently accompany. Working with instrumentalists requires the ability to work in an ensemble. The musician also participates in creating musical arrangements and accompanying cultural events. Characterized by a static working posture, load on the spine and arms. Concertmasters are in demand in educational and cultural institutions. As teachers, musicians are also easily employed in schools, institutions of additional education, as well as in specialized musical educational institutions. It is possible to work as a concert performer - a soloist or as part of ensembles.

Should be able to

Perform works on musical instruments in various playing techniques, understand the idea of ​​a musical work and express its image and emotional depth, work individually and in an orchestra, etc.

Professionally important qualities

• ear for music;
• sense of rhythm;
• musical memory;
• good coordination;
• motor fluency;
• perseverance, patience, purposefulness;
• developed imagination, creativity (tendency to improvisation);
• pedagogical abilities.

Medical contraindications

• hand diseases (arthritis);
• reduced hearing;
• severe scoliosis with contraindications to work in a static position and heavy loads on the spine and arms.

Ways to get a profession

School of Music, college.

Related professions

Soloist, chamber ensemble artist, music teacher, singer.

Great pianists past and present are truly clearest example for admiration and imitation. Everyone who is fond of and was fond of playing music on the piano has always tried to copy the best features of the great pianists: how they perform a piece, how they were able to feel the secret of each note and sometimes it seems that it is incredible and some kind of magic, but everything comes with experience: if yesterday it seemed unrealistic, today a person himself can perform the most complex sonatas and fugues.

The piano is one of the most famous musical instruments penetrating various genres music, and with its help many of the most touching and emotional compositions in history. And the people who play it are considered giants. music world. But who are these the greatest pianists? When choosing the best, many questions arise: should it be based on technical ability, reputation, the breadth of the repertoire, or the ability to improvise? There is also the question of whether it is worth considering those pianists who played in past centuries, because then there was no recording equipment, and we cannot hear their performance and compare it with modern ones. But during this period there was a huge amount of incredible talent and if they got world fame long before the media, it is entirely justified to pay homage to them. Taking into account all these factors, we offer a list of the 7 best pianists of the past and present.

Frederic Chopin (1810-1849)

The most famous Polish composer Frederic Chopin was one of the greatest virtuosos, performing pianist of his time.

The vast majority of his works are for piano solo, and although there are no recordings of his playing, one of his contemporaries wrote: "Chopin is the creator of the piano and composer school. In truth, nothing can compare with the ease and sweetness with which the composer began to play the piano, moreover, his works full of originality, peculiarity and grace cannot be compared with anything.

Franz Liszt (1811-1886)

In rivalry with Chopin for the crown of the greatest virtuosos of the 19th century was Franz Liszt, a Hungarian composer, teacher and pianist.

Among his most famous works is the insanely complex piano sonata in B minor by Années de pèlerinage and the waltz by Mephisto Waltz. In addition, his fame as a performer has become a legend, even the word Lisztomania has been coined. During an eight-year tour of Europe in the early 1840s, Liszt gave over 1,000 performances, although relatively young age(aged 35) ended his career as a pianist and concentrated entirely on composing.

Sergei Rachmaninov (1873-1943)

Rachmaninoff's style was perhaps quite controversial for the time in which he lived, as he sought to maintain the romanticism of the 19th century.

He is remembered by many for his ability stretch your hand 13 notes(an octave plus five notes) and even a glance at the etudes and concertos that he wrote, you can verify the authenticity of this fact. Fortunately, records of the performance of this brilliant pianist, starting with his Prelude in C-sharp major, recorded in 1919.

Arthur Rubinstein (1887-1982)

This Polish-American pianist is often quoted as best performer Chopin of all time.

At the age of two, he was diagnosed absolute pitch, and when he was 13 he made his debut with the Berlin Philharmonic Orchestra. His teacher was Carl Heinrich Barth, who in turn studied with Liszt, so he can safely be considered part of the great pianistic tradition. Rubinstein's talent, combining elements of romanticism with more modern technical aspects, turned him into one of the finest pianists of his day.

Svyatoslav Richter (1915 - 1997)

In the fight for the title of the best pianist of the 20th century, Richter is part of the powerful Russian performers that emerged in the middle of the 20th century. He showed great commitment to composers in his performances, describing his role as a "performer" rather than an interpreter.

Richter was not a big fan of the recording process, but some of his best live performances survive, including 1986 in Amsterdam, 1960 in New York and 1963 in Leipzig. For himself, he held high standards and realized that at the Italian concert of Bach, played the wrong note, insisted on the need to refuse to print the work on CD.

Vladimir Ashkenazy (1937 - )

Ashkenazi is one of the leaders in the world classical music. Born in Russia, in this moment he holds both Icelandic and Swiss citizenship and continues to perform as a pianist and conductor around the world.

In 1962 he became the winner of the International Tchaikovsky Competition, and in 1963 he left the USSR and lived in London. His extensive record catalog includes everything piano works Rachmaninoff and Chopin, Beethoven's sonatas, Mozart's piano concertos, as well as works by Scriabin, Prokofiev and Brahms.

Martha Argerich (1941-)

Argentine pianist Martha Argerich amazed the world with her phenomenal talent when, at the age of 24, in 1964 she won the international competition named after Chopin.

Now recognized as one of the greatest pianists of the second half of the 20th century, she is renowned for her passionate playing and technical ability, as well as her performances of works by Prokofiev and Rachmaninoff.

How to choose the path is up to you! But to start -