The main composers and performers are interpreters. famous musicians

The profession of a composer requires musical talent and deep knowledge of musical composition. We can safely say that the composer is the most important figure in the musical world. Therefore, each famous composer in the history of music had a significant impact on the development of music at each specific stage. Composers of the 18th century In the second half of the 18th century, two great composers lived and worked - Bach and Mozart - who influenced the entire subsequent development of musical art. Johann Sebastian Bach (1685-1750) is the brightest representative of the musical tradition of the 17th-18th centuries, classified by historians as the Baroque era. Bach is one of the most significant composers in the history of music, having written more than a thousand pieces of music in various genres during his 65-year life. Johann Sebastian Bach is the founder of one of the most famous dynasties in the world of music. Wolfgang Amadeus Mozart (1756-1791) - bright representative Viennese school, who masterfully owned many instruments: violin, harpsichord, organ. In all these genres, he succeeded not only as a performer, but primarily as a composer of music. Mozart became famous thanks to his amazing ear for music and talent for improvisation. The third most important name in the history of music is Ludwig van Beethoven. He worked at the turn of the 18th and 19th centuries in all the then existing musical genres. His musical heritage is extremely diverse: these are sonatas and symphonies, overtures and quartets, concertos for his two favorite instruments - violin and piano. Beethoven is considered the first representative of romanticism in classical music. These works were written by Ludwig van Beethoven 01-To Elise 02-Sonata No. 14 Lunar 03-Symphony No. 5 04-Appasionata Sonata No. 23 05-Sonata No. 13 Pathetic 06-Egmont Overture 07-Sonata No. 17 Tempest 08-Symphony No. 9 09- Sonata No. 21 Mozart wrote "Imaginary Simple Girl" "Scipio's Dream" "Misericordias Domini" Mocarta 40. simfonija, 4. temps Overture to Don Giovanni "Figaro kāzu" uvertīra Concerto in D for Flute J.T. 1 Vocal works 2 Organ works 3 Works for harpsichord 4 Works for solo non-keyboard instruments 5 Works for harpsichord duet with another instrument He is the author of 90 operas Author of over 500 concertos Author of over 100 sonatas for various instruments accompanied by basso continuo; secular cantatas, serenades, symphonies, Stabat Mater and other church works. Operas, pasticcios, ballets Terpsichore (prologue to the 3rd edition of the opera The Faithful Shepherd, 1734, Covent Garden Theatre); oratorios, odes and other works for choir and voices with orchestra, concertos for orchestra, suites, concertos for instrument and orchestra for ensemble of instruments - for piano 2 hands, for piano 4 hands for 2 pianos, for voice accompanied by piano or with another an instrument for unaccompanied choir, music for dramatic performances - In the history of musical art, the 18th century was of great importance and is still of paramount interest. This is the era of the creation of musical classics, the birth of major musical concepts, in essence already secular figurative content. Music not only rose to the level of other arts that had flourished since the Renaissance, to the level of literature at its best, but on the whole surpassed that achieved by a number of other arts (in particular, visual arts) and by the end of the century was able to create a large synthesizing style of such a high and lasting value, like the symphony of the Viennese classical school. Bach, Handel, Gluck, Haydn and Mozart are recognized peaks on this path of musical art from the beginning to the end of the century. However, the role of such original and searching artists as Jean Philippe Rameau in France, Domenico Scarlatti in Italy, Philippe Emanuel Bach in Germany is also significant, not to mention the many other masters who accompanied them in the general creative movement.

Here is a list of 10 composers you should know. About each of them, it can be said with certainty that he is the most great composer, which has ever been, although in fact it is impossible, and indeed impossible, to compare music written over several centuries. However, all these composers stand out among their contemporaries as the composers who composed the music. the highest level and sought to push the boundaries of classical music to new limits. The list does not contain any order, such as importance or personal preference. Simply 10 great composers you should know.

Each composer is accompanied by a quotable fact of his life, remembering which you will look like an expert. And by clicking on the link to the names, you will recognize him full biography. And of course, you can listen to one of the significant works of each master.

The most important figure in world classical music. One of the most performed and respected composers in the world. He worked in all the genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. Instrumental works are considered to be the most significant in his legacy: piano, violin and cello sonatas, piano and violin concertos, quartets, overtures, symphonies. The founder of the romantic period in classical music.

Interesting fact.

Beethoven first wanted to dedicate his third symphony (1804) to Napoleon, the composer was fascinated by the personality of this man, who seemed to many at the beginning of his reign a real hero. But when Napoleon proclaimed himself emperor, Beethoven crossed out his dedication to title page and wrote only one word - "Heroic".

"Moonlight Sonata" by L. Beethoven, listen:

2. (1685-1750)

German composer and organist, representative of the Baroque era. One of the greatest composers in the history of music. During his life, Bach wrote more than 1000 works. All significant genres of that time are represented in his work, except for opera; he summarized the achievements of the musical art of the Baroque period. Ancestor of the most famous musical dynasty.

Interesting fact.

During his lifetime, Bach was so underestimated that less than a dozen of his works were published.

Toccata and fugue in D minor by J.S. Bach, listen:

3. (1756-1791)

Great Austrian composer, instrumentalist and conductor, a representative of the Vienna Classical School, a virtuoso violinist, harpsichordist, organist, conductor, he had a phenomenal ear for music, memory and the ability to improvise. As a composer who has excelled in every genre, he is rightfully considered one of the greatest composers in the history of classical music.

Interesting fact.

While still a child, Mozart memorized and wrote down the Miserere (Cat. chant to the text of the 50th Psalm of David) by the Italian Grigorio Allegri, having listened to it only once.

"Little Night Serenade" by W. A. ​​Mozart, listen:

4. (1813-1883)

German composer, conductor, playwright, philosopher. Had a significant impact on European culture turn of the XIX-XX centuries, especially modernism. Wagner's operas amaze with their grand scale and eternal human values.

Interesting fact.

Wagner took part in the failed revolution of 1848-1849 in Germany and was forced to hide from arrest by Franz Liszt.

"Ride of the Valkyries" from the opera "Valkyrie" by R. Wagner, listen

5. (1840-1893)

Italian composer, central figure of the Italian opera school. Verdi had a sense of the stage, temperament and impeccable skill. He did not deny operatic traditions (unlike Wagner), but rather developed them (traditions of Italian opera), he transformed Italian opera, filled it with realism, gave it the unity of the whole.

Interesting fact.

Verdi was an Italian nationalist and was elected to the first Italian Parliament in 1860, after Italy's independence from Austria.

Overture to D.Verdi's opera "La Traviata", listen:

7. Igor Fyodorovich Stravinsky (1882-1971)

Russian (American - after emigration) composer, conductor, pianist. One of the most important composers of the twentieth century. Stravinsky's work has been united throughout his career, although at different periods the style of his works was different, but the core and Russian roots remained, which manifested themselves in all his works, he is considered one of the leading innovators of the 20th century. His innovative use rhythm and harmony inspired and inspires many musicians, and not only in classical music.

Interesting fact.

During World War I, Roman customs officials confiscated a portrait of Stravinsky by Pablo Picasso when the composer was leaving Italy. The portrait was painted in a futuristic manner and the customs officers mistook these circles and lines for some kind of encrypted secret material.

Suite from I.F. Stravinsky's ballet "The Firebird", listen:

8. Johann Strauss (1825-1899)

Austrian light music composer, conductor and violinist. "King of Waltzes", he worked in the genre of dance music and operetta. His musical heritage includes more than 500 waltzes, polkas, square dances and other types of dance music, as well as several operettas and ballets. Thanks to him, the waltz became extremely popular in Vienna in the 19th century.

Interesting fact.

Father of Johann Strauss - also Johann and also famous musician, therefore, the "king of waltzes" is called the younger or son, his brothers Joseph and Eduard were also famous composers.

Waltz by I. Strauss "On the Beautiful Blue Danube", listen:

9. Sergei Vasilyevich Rahmaninov (1873-1943)

Austrian composer, one of the prominent representatives of the Viennese classical music school and one of the founders of romanticism in music. For my short life Schubert made significant contributions to orchestral, chamber and piano music that influenced an entire generation of composers. However, his most striking contribution was to the development of German romances, of which he created more than 600.

Interesting fact.

Schubert's friends and fellow musicians would get together and play Schubert's music. These meetings were called "Schubertiads" (Schubertiads). Some first fan club!

"Ave Maria" F.P. Schubert, listen:

Continuing the theme of the great composers you should know, new material.

Musical interpretation as a result of the interaction of the musical text, performing traditions and the creative will of the performer.

The author's information encourages the performer to think, imagine, find associations, gives rise to emotions. Performing information affects the author's information, narrows or expands it, supplements, transforms, that is, there is a rethinking piece of music as a result of which an artistic image is created. Rethinking the author's information should in no case lead to a distortion of the author's intention. Genuine performing co-creation is possible only when the author's information finds reciprocal feelings in the performer.

Work on a piece of music is a creative process, the diversity of which is associated both with artistic features works, as well as with various individual characteristics of the performer. What are the tasks in front of him? And what contributes to the development creativity performer, stimulates the formation of his musical taste, professional skills?

To perform means to create by deep penetration into the content of the work and embodiment. musical content based on the artistic image. Recreating the content of a work implies fidelity to the author's text, understanding the ideological orientation of the composition, emotional richness (musical art affects the emotional sphere of human perception).

Creating an artistic image is impossible without taking into account originality historical era in which the work was created; his genre features, national traits the composer's worldview, the nature of the use of expressive means of music, that is, all that we call stylistic features or features.

Interpretation -(from the Latin interpretatio - clarification, interpretation) - the process of sound realization of a musical text. The interpretation depends on the aesthetic principles of the school or direction to which the artist belongs, on his individual characteristics and ideological and artistic design. Interpretation involves an individual approach to music played, active attitude, the presence of the performer's own creative concept of the embodiment of the author's intention. Until the beginning of the 19th century, the art of interpretation was closely associated with the work of composers: as a rule, composers themselves performed their compositions. The development of interpretation is due to the intensification of concert activity.

As an independent art, interpretation acquires special significance in the 20-30s of the 19th century. In performing practice, it is approved new type musician-interpreter - performer of works by other composers. In parallel, there are traditions of author's performance. Subtle interpreters of the works of other authors were F. Liszt, A.G. Rubinshtein, S.V. Rakhmaninov. Since the second half of the 19th century, a theory of musical interpretation has been formed (it studies the variety of performing schools, aesthetic principles of interpretation, technological problems of performance), which by the beginning of the 20th century has become one of the areas of musicology. A significant contribution to the development of the domestic theory of interpretation was made by G.M. Kogan, G.G. Neuhaus, S.Ya. Feinberg and others.

Objective and subjective, intuitive and rational in musical performance. The creative nature of performance.

The famous pianist I. Hoffman wrote: "The correct interpretation of a musical work follows from its correct understanding, and that, in turn, depends on scrupulously accurate reading." This means that the correct character of the performance is evidenced, first of all, by a meaningful interpretation, strictly corresponding to the author's text "The musical text is the wealth bequeathed by the composer, and his performance instructions are the accompanying letter to the will," said the composer and pianist S. Feinberg. However, there is not only the text, but also the subtext of the work. The remarkable pianist K. Igumnov believed that the "good half" of the performer should also bring into the text from himself, that is, he should approach the inner character of the work, reveal its subtext. The legendary G. Neuhaus always reminded of the need to constantly delve into the mood of the performed work, because it is in this mood, which is not completely amenable to musical notation, that the whole essence of the artistic image. From all of the above, the conclusion follows that the exact execution of the composer's text should be understood not as its formal reproduction, but as a meaningful creative "translation" of the recording-scheme into real sound images.

Understanding and interpretation as dialectically interrelated aspects of interpretation. Generation of new meanings as a result of interpretation. Specificity of artistic interpretation, intuitive comprehension of the object of interpretation (experience, synergetics).

The Role of Semantic and Aesthetic Analysis of a Work for Performing Interpretation

Intentionality and unintentionality in musical interpretation

It should be noted that musical performance is, first of all, a procedural-dynamic moment. This means that the transformation musical image on the stage, during which some particular changes in the interpretation of the musical image take place. Researchers talk about the variability of music reproduction by one performer or about a combination of variable and invariant elements.

The interpretative process can be represented as the interaction of two contradictory principles - intentional (as the focus of the stable in the process) and unintentional (as the focus of the changeable in the process). These two large and complex layers form the structure of the process. The deployment of this structure in time, the totality and connection of its elements form a moving sound integrity, which, in fact, is an interpretive process.

Intentional start is a generalized expression of the givenness in the process. Intentional elements include elements, the qualitative parameters of which are programmed by the musician before the start of performing actions and which he intends to implement in the upcoming process. Together, these elements form a consciously planned part of the performance interpretation and constitute the quantitative dominant of the process. Their distinguishing features are intrinsic motivation, definiteness and semantic significance. In one way or another, premeditation covers all levels of the design structure. The intentional beginning bears the stamp of the individual artistic consciousness of the artist, is a sign of his creative uniqueness.

The interpretive process is not reduced to a consistently implemented intentionality. comes into its own unintended start, inevitably present in the acts of objectification and having a fundamentally different nature. An unintended start is a dynamic component of the process, the elements of which arise spontaneously, act as deviations from the course set by the original plan and form an “existential field” of uncertainty. This component, reflecting the irrational aspect of performing creativity, becomes the carrier of the very possibility of an unpredictable, self-generated change in the image-design. Unintentional start includes elements different nature. If we consider them in the content-semantic plane, then it becomes necessary to divide unintended elements into two subspecies: semantic and asemantic.

Semantic (improvisational) the view unites a group of incoming elements endowed with artistic and expressive meaning. Being a creative product of the “free” (unspecified) activity of the unconscious, the result of the momentary “activity” of intuition, imagination, fantasy and internal movements of feelings, usually called artistic experience, they form an artistic and productive layer of an unintended beginning. Their signs are: unintentionality, novelty and semantic significance, and the latter forms the basis of the unity and kinship of improvisational and intentional elements, ascending to the same source - the sound image. The unintentional beginning includes improvisation, but is not limited to it.

Asemantic (chaotic) the view unites a group of unintended elements, the appearance of which is not caused by artistic factors, but by a “failure” in activity. The origin of these elements is associated with violations in the technological and regulatory spheres of execution. They appear in the form of performing errors, defects and moments of disorganization of the process. Asemantic elements cause damage to what was conceived, do not give a “subjective” semantic result, but only bring more or less significant destruction to the process, therefore they constitute an artistically unproductive layer of an unintended beginning. Given the extremely inappropriate, unequivocally destructive level of functioning of this component, it can be called "chaotic".

The question of the adequacy of the performing interpretation of a musical work.

The musician must not only master the text, his main task is to understand the composer's intention, recreate his musical images embodied in a piece of music, and select means of expression for the most accurate transmission.

A. France wrote: “To understand a perfect work of art means, in general, to re-create it in your own inner world". K.S. Stanislavsky said that only “the actor’s deep penetration into the author’s idea, getting used to the image embodied on the stage, when the actor lives, feels and thinks in the same way as the role, only then his actions can lead to stage success.”

The Italian pianist F. Busoni spoke on this subject as follows: “It is an almost superhuman task to throw back own feelings in order to reincarnate in the feelings of the most diverse individuals and from there to study their creation. Very subtly noticed the creative essence of performing arts Russian critic V.G. Belinsky: “The actor supplements the idea of ​​the author with his play, and his creativity consists in this - that addition.” The same logic operates in the musical and performing arts.

A.N. Serov, a famous Russian composer and music critic, wrote:“A role - at least from a Shakespearean play, music - even from Beethoven himself, in relation to a brilliant performance, is only a sketch, an essay; paints, full life a work is born only under the charming power of the performer.

For example, the most popular first concerto for piano and orchestra by P.I. Tchaikovsky, became widely known only 4 years after the first performance, when it was brilliantly performed by N. Rubinstein. The same story happened with P. Tchaikovsky's Violin Concerto, which only after its performance by L. Auer took its rightful place in the concert repertoire of violinists.

These examples show the creative nature of performing activity, which is not a simple, formal translation of the author's text into sound, but its creative performance. The psychological essence of the interpretation was very accurately expressed by A.N. Serov: " Great Mystery great performers in the fact that they illuminate from the inside, brighten up, put into it a whole world of sensations from their own souls, performed by the power of their talent.

Interpretation is not limited to the professional merit and skill of the performer. It is an expression of all aspects of the personality, and is associated with the worldview, ideological orientation, common culture, versatile knowledge and way of thinking that make up the inner content of the personality.

The public, moral and professional responsibility of the performer has increased since the end of the 18th - the middle of the 19th century, when the performing arts separated from the composer's. The fate of the work in many respects began to depend on the performer.

A. Rubinstein: “It is completely incomprehensible to me what is generally understood by objective performance. Any performance, if it is not produced by a machine, but by a person, is itself subjective. Correctly convey the meaning of the object (composition) - debts are the law for the performer, but everyone does it in his own way, that is, subjectively; and is it possible to think otherwise? If the rendering of a composition is to be objective, then only one manner would be correct, and all performers would have to imitate it; what would performers become? Monkeys? Is there only one performance of the role of Hamlet, or King Lear, etc.? So, in music, I only understand subjective performance.”

Formation of an artistic and performing idea and its implementation

In matters of interpretation, exceptional importance belongs to the imagination - the mental process of folding the image of future activity, or creating a new one in the form common idea, or a more specific representation of the end product of an activity. Imagination is always a mental construction of a program of subsequent activity, ahead of its materially embodied form. Distinguish between recreative and creative imagination. Creative is the creation of new ideas and images. Recreating is the construction of images based on musical text, etc. Recreating imagination - psychological basis creation of musical and performing interpretation.

Two types of performer - emotional type (adherents of the "art of experiencing") and artists of the intellectual type ( theatrical art, Stanislavsky).

There are synthetic performers. A remarkable combination of these two principles is found in the activities of S.V. Rachmaninov, and P. Casals, A. Toscanini and J. Heifitz, D. Oistrakh and S. Richter, L. Kogan and E. Gilels, E. Svetlanov and V. Fedoseev. They are distinguished by a deep insight into the content of a piece of music, a brilliant unity of content and form, an interesting, original interpretation and excellent technical skill. This type is characterized by a balance between the emotional and intellectual principles, which is consciously regulated.

Various aspects of interpretation: 1. interpretation by the performer of the author's intention; 2. historical inheritance; 3. intercultural and intracultural relations. Authentic performance, immersion in the historical and cultural context.

The work on a musical work should be based on its comprehensive study. This will allow you to delve into the figurative sphere, maintain the artist's interest in the work and, finally, understand the author's intention.

The most important starting point on this long and difficult path is the era in which this or that work was created. Composers, as it were, speak different languages ​​at different times, embody different ideals, reflect aspects of life characteristic of a particular time, philosophical and aesthetic views, concepts. Accordingly, expressive means are also used. It is necessary to understand why this particular style arose in a particular era, to associate it with the personality of the composer, who is the “product” of the era, belongs to a certain social group, nationality, to put a piece of music in these conditions and to establish in what relation it is with the creator and time.

Let's take the interrelation of the epoch and the notation of movement (tempo). In different eras, the notation of tempo was interpreted in different ways. In the preclassical period, the tempi of "Allegro", "Andante", "Adagio", for example, indicated not the speed of movement, but the nature of the music. Scarlatti's Allegro is slower (or more restrained) than the classics' Allegro, while Mozart's Allegro is slower (more restrained) than Allegro in its modern sense. Mozart's Andante is more mobile. Rather than we understand it now. The same can be said about the relationship musical era with dynamics and articulation. Of course, the presence of authority allows one to argue somewhere with dynamic indications, to perceive piano, pianissimo, forte, fortissimo in a new way.

sound recording

The first devices for recording and reproducing sound were mechanical musical instruments. They could play melodies, but were unable to record arbitrary sounds such as the human voice. Automatic music playback has been known since the 9th century, when the Banu Musa brothers around 875 invented the oldest known mechanical instrument - a hydraulic or "water organ", which automatically played interchangeable cylinders. The cylinder with protruding "cams" on the surface remained the main means for mechanical reproduction of music until the second half of the 19th century. Created during the renaissance whole line various mechanical musical instruments that reproduce this or that melody at the right time: barrel organ, music boxes, boxes, snuff boxes.

In 1857 de Martinville invented phonautograph. The device consisted of an acoustic cone and a vibrating membrane connected to a needle. The needle was in contact with the surface of a manually rotated soot-covered glass cylinder. Sound vibrations, passing through the cone, made the membrane vibrate, transmitting vibrations to the needle, which traced the shape of sound vibrations in the soot layer. However, the purpose of this device was purely experimental - it could not play the recorded recording.

In 1877, Thomas Edison invented the phonograph, which could already play back his own recording. Sound is recorded on the media in the form of a track, the depth of which is proportional to the volume of the sound. The sound track of the phonograph is placed in a cylindrical spiral on a replaceable rotating drum. During playback, the needle moving along the groove transmits vibrations to an elastic membrane, which emits sound.

Edison Thomas Alva (1847-1931), American inventor and entrepreneur. Author of more than 1000 inventions in the field of electrical engineering and communications. He invented the world's first sound recording device - the phonograph, improved the incandescent lamp, telegraph and telephone, built the world's first power plant in 1882.

In the first phonograph, a metal roller was rotated by a crank, moving axially with each revolution due to a screw thread on the drive shaft. Tin foil (staniol) was applied to the roller. It was touched by a steel needle connected to a parchment membrane. A metal cone horn was attached to the membrane. When recording and playing sound, the roller had to be rotated manually at a speed of 1 revolution per minute. When the roller rotated in the absence of sound, the needle extruded a spiral groove (or groove) of constant depth on the foil. When the membrane vibrated, the needle was pressed into the tin in accordance with the perceived sound, creating a groove of variable depth. So the method of "deep recording" was invented.

At the first test of his apparatus, Edison pulled the foil tightly over the cylinder, brought the needle to the surface of the cylinder, carefully began to rotate the handle and sang the first stanza of the children's song "Mary had a sheep" into the mouthpiece. Then he took the needle away, returned the cylinder to its original position with the handle, put the needle into the drawn groove and again began to rotate the cylinder. And from the mouthpiece, a children's song sounded softly, but clearly.

In 1885, the American inventor Charles Tainter (1854-1940) developed the graphophone—a foot-operated phonograph (like a foot-operated sewing machine)—and replaced the tin roll sheets with wax. Edison bought Tainter's patent, and instead of foil rolls, removable wax rolls were used for recording. The pitch of the sound groove was about 3 mm, so the recording time per roll was very short.

In almost unchanged form, the phonograph existed for several decades. As a device for recording musical works, it ceased to be produced at the end of the first decade of the 20th century, but for almost 15 years it was used as a voice recorder. Rollers for it were produced until 1929.

After 10 years, in 1887, the inventor of the gramophone, E. Berliner, replaced the rollers with disks from which copies can be made - metal matrices. With their help, well-known gramophone records were pressed (Fig. 4 a.). One matrix made it possible to print a whole circulation - at least 500 records. This was the main advantage of Berliner's records over Edison's wax rollers, which could not be replicated. Unlike Edison's phonograph, Berliner developed one apparatus for sound recording - a recorder, and another for sound reproduction - a gramophone.

Instead of deep recording, transverse recording was used, i.e. the needle left a tortuous trace of constant depth. Subsequently, the membrane was replaced by highly sensitive microphones that convert sound vibrations into electrical vibrations and electronic amplifiers. 1888 is the year of the invention of the gramophone record by Berlinger.

Until 1896, the disc had to be rotated by hand, and this was the main obstacle to the widespread use of gramophones. Emil Berliner announced a competition for a spring engine - inexpensive, technologically advanced, reliable and powerful. And such an engine was designed by mechanic Eldridge Johnson, who came to Berliner's company. From 1896 to 1900 about 25,000 of these engines were produced. Only then did Berliner's gramophone become widespread.

The first records were single-sided. In 1903, a 12-inch double-sided disc was released for the first time.

In 1898, the Danish engineer Voldemar Paulsen (1869-1942) invented an apparatus for magnetically recording sound on steel wire. Later, Paulsen invented a method of magnetic recording on a rotating steel disk, where information was recorded in a spiral by a moving magnetic head. In 1927, F. Pfleimer developed a technology for manufacturing a magnetic tape on a non-magnetic basis. On the basis of this development, in 1935, the German electrical company "AEG" and the chemical company "IG Farbenindustri" demonstrated at the German radio exhibition a magnetic tape on a plastic base coated with iron powder. Mastered in industrial production, it cost 5 times cheaper than steel, it was much lighter, and most importantly, it made it possible to connect pieces by simple gluing. To use the new magnetic tape, a new sound recording device was developed, which received the brand name "Magnetofon". Magnetic tape is suitable for repeated sound recording. The number of such records is practically unlimited. It is determined only by the mechanical strength of the new information carrier - magnetic tape. The first two-track tape recorder was released by the German company AEG in 1957, and in 1959 this company released the first four-track tape recorder.

“The truest and highest remedy

service to great composers

consists in bringing them the fullest

the artist's sincerity"

(Alfred Cortot).

Since the appearance of a piece of music recorded in a certain system of notation, the creative relationships between the main carriers of music - composers and performers - have been in the process of constant modification. In this commonwealth, two tendencies are struggling - the desire for fusion with the desire for self-expression. Since the middle of the 19th century, Russian pianism has become one of the most progressive groups in the world of performing arts. In Russia, earlier than anywhere else, they understood the need for the most careful study of the author's text, combined with a creative attitude towards it. The first four decades of the 20th century are the time of the most harmonious resolution of the question of the attitude towards the author's text; pianists began to comprehend the essence of the work and the style of its creator much more deeply. Soviet musicians have made a worthy contribution to the world performing Bakhiana. M.V. Yudina worshiped Bach throughout her creative life. This is evidenced by the number (about eighty) of his compositions played by the pianist - almost unique for artists of her generation. In Bach's repertoire, she abandoned many expressive romantic means, including specific piano ones; it was characterized by a more historical, in comparison with the interpretations of the romantics, reading of Bach. Yudina was one of the first to realize that Bach's creativity and the modern piano belong to different eras like alive artistic reality, which puts the interpreter in a difficult position. ABOUT innovative features Yudina's style can be judged by her performance of Chromatic Fantasy and Fugue, which is distinguished by linear figurations, ascetic coloring and energetic harpsichord dissection of articulation. Attention is drawn to the "registration" in the old clavier spirit, with a touch of organism, as well as the slow, "sovereign" tempo and strict agogics. The pianist's desire for style has never turned into a museum-like "dryness" of her performance. In the interpretations of Yudina, the ability to express a long immersion in one emotional state, lost in romantic readings, began to return to the works of Bach: the revival of the principles of clavier-organ registration; the disappearance of the diminuendo in the final bars; the rejection of the tradition of gradually increasing the power of sound in fugues from their beginning to the end, the absence of impulsive rubato. One more "clavier" feature in Yudina's performance decisions should be noted - the increased importance of articulation.

Among Soviet musicians, Svyatoslav Teofilovich Richter became a classic of the post-romantic stage in the history of pianism, an artist in whose work the leading trends of the new performing era were concentrated. He created interpretations, without which the history of the performance of Bach's music is inconceivable. Resolutely breaking with the tendencies of a romanticizing interpretation of the work of this composer, Richter deleted transcriptions from his programs. In the Preludes and Fugues from HTK, which occupy the main place in Richter's Bach discography, he contrasts the romantic freedom, the subjectivity of interpretations with the desire for maximum objectivity and, as it were, "goes into the shadows", wanting to let "the music itself" sound. These interpretations are imbued with a careful, chaste attitude towards the author. Self-absorption here completely dominates the external manifestations of feelings; emotional intensity is guessed only in a huge intellectual tension. The unique skill is reflected in its invisibility, in the laconism and asceticism of pianistic means. We hear in Richter the possibility of organ, vocal, orchestral, orchestral-choir and harpsichord sounding and bells. “I am convinced that Bach can be played well in different ways, with different articulations and with different dynamics. If only the whole is preserved, if only the strict outlines of the style are not distorted, if only the performance is convincing enough ”(S.T. Richter).

A deep and comprehensive, truly artistic approach to the CTC cycle is characteristic of Richter. Listening to Richter's performance, it is easy to detect two main tendencies in him, which sometimes fight with each other. On the one hand, his performance seems to be within the boundaries predetermined by the peculiarities of the clavier art of Bach's time. On the other hand, it is constantly dealing with phenomena that go beyond these boundaries. “In it, as it were, the harpsichord, clavichord, and organ sympathies of Bach, and his brilliant insights of the future are “soldered” together” (J. Milshtein). It combines both expressive and constructive elements, as well as linear ones. That is why, in other preludes and fugues, Richter brings to the fore the intellectual, constructive-polyphonic principle and connects their figurative structure with it; in others, it emphasizes the philosophical depth of Bach's music and the organic balance of all expressive means associated with it. Sometimes he is attracted by the expression of smoothly flowing melodic lines (coherent articulation of legato), sometimes vice versa, by the sharpness and clarity of the rhythm, the dissection of the articulation. Sometimes he strives for romantic softness, plasticity of the game, sometimes for sharply emphasized dynamic contrasts. But he, of course, is not characterized by "sensitive" rounding of the phrase, small dynamic shades, unjustified deviations from the main tempo. It is also extremely alien to the highly expressive, impulsive interpretation of Bach, asymmetrical accents, sharp emphasis on individual notes and motifs, sudden “spastic” acceleration of tempo, etc. His performance of HTK is stable, large-scale, organic and whole. “His highest happiness is to dissolve in the will of the composer he has chosen” (Y. Milshtein).

The main impetus of Glenn Gould's remarkable, world-conquering interpretations is his amazing intuition, the irresistible force of musical emotions living in him. Guldovsky Bach is the greatest pinnacle of the performing arts of the second half of the 20th century. The harpsichord palette of Gould's pianism, its melismatics and much more testify to the intellect and the deepest penetration into the culture of Bach's time. Gould's interpretations of inventions, partitas, Goldberg variations and other works by Bach became an artistic asset, perceived by our contemporaries as masterpieces of performing art, as a stylistic standard cleared of all accumulated layers. However, the creative dominant of the master has never been an imitation of Bach. He submits to his intuition, while not stopping at changes in the direct data of Bach's "white" text. Gould performs Bach's works with varying degrees of artistic persuasiveness. Not all the fugues from the first volume of the CTC are performed at the usual artistic level for Gould. In the game of the master, there are often direct wastes from the text, its rhythmic-high-altitude variants.

Gould's play is striking in its original and, in the highest degree, expressive melismatics. Their location is also original - many are added, others are not performed. Without them, Bach's interpretations of the artist would have lost a lot. The artist often resorts to rhythmic variations of the text. But if the above features of the master's playing do not introduce far-reaching changes into the character and meaning of the works, then other Gould's transformations intrude into the very essence of the compositions. The interpretations of the Canadian master cover the richest imaginative spectrum. He plays many things with deep lyricism, rhythmic freedom, unusual for Bach, and short phrasing. His playing strikes with perfection, convexity of voice leading. The whole fabric of music is clear "as in the palm of your hand." The music seems to be enriched by the expressive intonation of all voices.

Very developed, varied, refined line art of the master's play. His strokes give the motive structure of Bach's melodies the most diverse look. Of particular interest is the unusual method of varying strokes in the same melodies, including the themes of fugues, inventions and other works, and opens up new performance problems. The study of Bach's orchestral works, which contain a certain number of author's leagues - strokes, shows the possibility of such an example. The great composer himself varied strokes, and not so rarely. The Canadian freethinker created the most convincing Bach of our time. He is a different Bach: not the one that was during his lifetime, and not the one that, changing, appeared to different generations, but he seems to Gould's contemporaries the most authentic Bach.

In the field of instrumental music, the work of J.S. Bach opened a whole new era, the fruitful influence of which extends to our days and will never dry up. Unfettered by the ossified dogma of a religious text, music is broadly directed to the future, directly close to real life. It is closely connected with the traditions and techniques of secular art and music making.

The sound world of Bach's instrumental music is marked by a unique originality. Bach's creations have firmly entered our consciousness, have become an integral aesthetic need, although they sound on instruments other than those of those days.

Instrumental music, especially Köthen, served Bach as an "experimental field" for perfecting and honing his comprehensive composing technique. These works have enduring artistic value; they are a necessary link in Bach's overall creative evolution. The clavier became for Bach the daily basis for musical experimentation in the field of order, harmony, and shaping, and more widely connected the various genre spheres of Bach's creativity. Bach expanded the figurative-expressive sphere of the clavier and developed for it a much wider, synthetic style, which incorporated expressive means, techniques, thematics learned from organ, orchestral, vocal literature - German, Italian, French. Despite the versatility of figurative content, which requires a different manner of performance, Bach's clavier style is distinguished by some common features: energetic and majestic, content and balanced emotional structure, richness and variety of texture. The contour of the clavier melody is expressively melodious, requiring a cantabile manner of playing. To a greater extent, Bach's fingering and setting of the hand are connected with this principle. One of the characteristic features of the style is the saturation of the presentation with harmonic figurations. Through this technique, the composer sought to “raise to the surface of the sound” the deep layers of those grandiose harmonies, which, in a continuous texture on the clavier of that time, could not fully reveal the treasures of color and expression contained in them.

Bach's works are not just amazing and irresistibly captivating: their influence becomes stronger the more often we hear them, the more we get to know them. Thanks to the huge wealth of ideas, we find something new in them every time that causes admiration. Bach combined a majestic and sublime style with the finest decoration, the utmost care in selecting the details of a compositional whole, for he was convinced that “the whole cannot be perfect if the details of this whole are not “fitted” to each other” (I. Forkel).

Technologies, developments» www.methodkabinet.rf

Pianist - interpreter. modern pianism.

Iovenko Yulia Evgenievna, piano teacher, MAOUK DOD Children's Music School, Komsomolsk-on-Amur, Khabarovsk Territory

Myprojectconcerns interpretation issues piano music.

In it I will touch a little the topic of the history of piano performing arts, as well as the issue of trends in modern performing pianism, I will talk about some pianists of our time, who, in my opinion, are the best interpreters of this or that composer.

Music in a number of arts occupies a special place in its specificity. Objectively existing in the form of musical notation, music needs an act of re-creation by the performer, his artistic interpretation. In the very nature of music lies the dialectical unity of a musical work and performance.

Musical performance is always contemporary creativity, the creativity of a given era, even when the work itself is separated from it by a long period of time.

Depending on the era of the development of piano music, pianists developed a certain style of performance, a certain manner of playing.

Clavier period is a prehistory for piano performance. At this time, the type of musician-practitioner, "playing composer" was formed. Creative improvisation is at the heart of performing arts. The virtuosity of such a musician was reduced not so much to technical perfection, but to the ability to “speak” with the audience with the help of an instrument.

New milestone musical performance comes towards the end of the 18th century with the promotion of a new solo instrument - the hammer-action piano. The complication of the musical content caused the need for accurate musical notation, as well as fixing special performance instructions.

Piano performance acquires emotional richness and dynamism.

By the end of the 18th century there was new form making music - a public, paid concert. There is a division of labor between composer and performer.

Early 19th century a new type of musician is being formed - "composing virtuoso". New spatial and acoustic conditions (large concert halls) demanded greater sounding power from the performers. In order to enhance the psychological impact, elements of entertainment are introduced. The "play" of the face and hands becomes a means of spatial "sculpting" of the musical image. The audience is influenced by the virtuoso scope of the game, a bold flight of fancy, a colorful range of emotional shades.

And finally by mid 19th century but a musician-interpreter, an interpreter of someone else's composer's creativity, is being formed. For the interpreter, the exclusively subjective nature of the performance gives way to an interpretation that sets objective artistic tasks for him - disclosure, interpretation and transmission. figurative system musical work and the intention of its author.

Almost everything 19th century characterized by a powerful flowering of piano performance. The performance becomes the second creation, where the interpreter is on an equal footing with the composer. The wandering virtuoso in all its varieties becomes the main figure in the performing sphere - from piano "acrobats" to propagandist performers. In the activities of Chopin, Liszt, the Rubinstein brothers, the idea of ​​the unity of artistic and technical principles dominates, on the other hand, Kalkbrenner and Laugier set the main goal of educating a virtuoso student. The style of many masters of the 19th century was filled with such executive willfulness that we would consider it one hundred percent tasteless and unacceptable.

20th century can be safely called the century of great pianists: so many in one period of time, it seems that they have never happened before. Paderevsky, Hoffmann, Rachmaninov, Schnabel - at the beginning of the century, Richter, Gilels, Kempff - in the second half. The list is endless...

At the turn of XX-X I centuries The variety of interpretations is so great that it is sometimes not at all easy to understand them. Our time is the diversity of performing manners.

Modern art of playing the piano. What it is? What happens in it, what dies and what is born?

In general, the trend of piano performing art today, in contrast to what it was even 50 years ago, is the priority of details over the general concept. It is in different readings of micro-details that modern performers want to find their individuality.

It is also the existence of an unspoken rule of performance: “There is no homophony. The entire piano texture is always polyphonic through and through, and even stereophonic. A fundamental principle is connected with this: each finger is a separate and living and specific instrument responsible for the duration and quality of sounding ”(quote from a lecture - a lesson by Mikhail Arkadiev).