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Methodical report "S. Maykapar and his piano cycle "Spillikins

Maykapar Samuil Moiseevich (1867 - 1938). The name of the composer Samuil Moiseevich Maikapar, the author of numerous works for children and youth, is widely known in Russia and abroad. Thanks to artistic merit, understanding of child psychology and taking into account the characteristics of children gaming machine, Maykapar's plays have firmly entered the repertoire of young pianists. Children love these vividly imaginative and at the same time simple in texture works, and it will not be an exaggeration to say that there is not a single young musician, who did not play or did not hear any play by Maykapar performed by his comrades.

Even in the pre-revolutionary years, Maykapar began composing music for children and was the first of the older generation of composers who devoted his entire creative activity to the creation of children's and youth musical literature. In this he was helped not only by his talent as a composer, but also by his performing and teaching experience, combined with the thoughtful approach of a musician-methodist and a researcher. Currently, Maykapar's compositions for children are a kind of children's musical "Classics".

However, Maykapar's diverse musical activities remain unknown to many. In the book "Years of study" he managed to tell only about the initial period of his musical life. The supposed story about the "years of activity" remained only a project. Many of Maykapar's methodological works have not been published.

Samuil Moiseevich Maykapar was born on December 6 (December 18 according to the new style) 1867 in the city of Kherson. Baby and youth are connected with the seaside southern city - Taganrog.

notable place in cultural life the city was occupied by domestic music-making. Just as they played music in the Chekhov family, they devoted a lot of time to music in the Maykapar family. The mother of Samuil Moiseevich, who studied in her youth in Odessa, played the piano well, like her brother, an amateur violinist; his three sisters played the piano, the fourth studied violin.

Taganrog was considered a musical city. Since the music school in Taganrog was opened only in 1885, until that time it was possible to study music only from private teachers, among whom there were also not very musically literate people. Teaching children to play some kind of musical instrument was almost mandatory in every intelligent Taganrog family. Maykapar's father was a wealthy enough man to give his children not only a secondary, but also a higher education.

Maykapar mentions the years of teaching at the gymnasium only in passing. He began to study at the same gymnasium that the great Russian writer A.P. had graduated from eight years earlier. Chekhov. In 1885 Maykapar graduated from the gymnasium with a silver medal.

Already at this time, music became his true passion and purpose of life. Quite early Maykapar decided to become a musician. And in this regard, his parents and, of course, his first music teacher, the Italian Gaetano Molla, played a positive role. Maykapar characterized him as a talented, temperamental and hardworking musician who taught him to understand and love music.

Maykapar was seven years old when he began learning to play the piano. He inherited his musical abilities from his mother, and his love for music from his father, who, although he did not play on any of musical instruments, but was always ready to listen to music and deeply felt it. Systematic piano lessons, playing in an ensemble, attending chamber and other concerts brought up Maykapar's taste, introduced him to musical literature. By the age of fifteen, he already knew the main works of symphonic and chamber music, having played many symphonies and quartets with his sister in four hands. He played almost all of Beethoven's sonatas and read from the sight rather fluently. At that time, Maykapar was considered the best accompanist in Taganrog and performed not only with local amateurs, but also with visiting professional musicians.

Maykapar did not change his enthusiastic attitude towards Molla even when he realized his shortcomings - he was accepted for junior year conditionally, for one year, as his technical training left much to be desired.

For getting higher education Maykapar went to St. Petersburg, where there was the oldest conservatory in the country, which enjoyed great prestige thanks to the activities of its founder A. Rubinstein and the largest musicians who taught there. In order to continue his general education, he intended to enter the university.

Maikapar, as he graduated from the gymnasium with a medal, was guaranteed admission to the university. He chose the faculty of law, as it did not require students to spend a lot of time on systematic studies. Time was necessary for Maykapar, since in the case of entering the conservatory, it was necessary to play the piano every day and in large quantities. Maykapar was admitted to the junior course conditionally, for one year, as his technical training left much to be desired.

Maykapar entered the class of senior teacher V. Demyansky, who corrected defects in his hand placement in two years, taught him to carefully work on a piece of music, and significantly advanced his technique. Demyansky considered his mission accomplished. Maykapar later wrote: "... thanks to Demyansky's careful sensible guidance, I successfully passed the most critical, first period of my studies at the conservatory, and the question is whether I, for so many years, left without a proper technical school, will be able to acquire the basics of good piano technique in the future, resolved in a positive way. Having successfully passed the technical exam for the transition to the senior year of the conservatory, Maykapar moved to the class of the Italian pianist Veniamin Cesi, who had just been invited as a professor at the St. Petersburg Conservatory.

For four years, Maikapar studied with Chezi, with the help of whom he was able to thoroughly familiarize himself with piano music Bach, Handel and other ancient masters. After working at the conservatory for four years, Chesi fell seriously ill and left for his homeland in Italy.

Then Maykapar continued his studies with the young Hungarian pianist Joseph Weiss, a student of Liszt. Weiss's teaching was chaotic and lacking any system. Maykapar was more considered his student than he worked with him. Maykapar prepared for the final exam on his own, as shortly before the exam he fell ill. He played the program well and was appointed to speak at the Conservatory act, which was awarded to the best of the graduates.

When Maykapar took the last of the auxiliary musical-theoretical subjects, A. Rubinshtein was present at the exam; after reviewing Maykapar's experience in composing music, he advised him to start studying composition theory. So Maykapar ended up in the class of Professor N. Solovyov, having come to the end of the conservatory not only as a pianist, but also as a composer.

The years Maikapar spent at the conservatory turned out to be significant for him, thanks to the environment in which he was. Being the director of the conservatory, A. Rubinshtein took to heart not only the interests of the institution, but also the fate of each student. Forever remembered Maykapar Rubinstein's bright performances on the stage.

Maykapar University graduated two years earlier than the conservatory. For a short time he tried to practice law, but soon became convinced that it was impossible to combine music lessons with jurisprudence. But while studying at the university, Maykapar acquired a certain breadth of views, disciplined his thinking, learned to argue and clearly express his thoughts. This allowed him to subsequently go beyond the narrow musical specialization and become an outstanding researcher in the field of music.

Not satisfied with what he had achieved and critical of his pianistic achievements, Maykapar went to Vienna, where he studied with the famous teacher Theodor Leshetitsky. Maykapar describes in detail the course of his studies with Leshetitsky in the book Years of Learning. Finishing the story, he writes: “As a result of my work under the direction of Leshetitsky, I consider the most valuable result of the conscious ways of technical and artistic improvement that opened up thanks to him throughout my later life ... Another very important result of my studies with Leshetitsky is a great interest in methods work, to finding ways to master technical difficulties and achieve artistic completeness of performance, without undue expenditure of labor and effort.

Maikapar was characterized by persistence, which forced him, having taken up a case, to delve into the smallest details until the issue was fully studied. Such exceptional conscientiousness was manifested by Maykapar in all areas. If it concerned performing work and it was a matter of concert performances, then he considered not only the program, the sequence of performance of the pieces, but also took into account the minutes of sounding of each pause between them and the duration of the intermission; in his performing and pedagogical work, we literally meet with the jewelry decoration of his works; when publishing essays - with careful designation of the smallest details; preparing books and reports, he conscientiously studied the supporting material, literature, attracted a wide variety of sources, which, in his opinion, could help clarify the essence of the matter. And so always and in everything. A. Rubinshtein, who heard Maykapar repeatedly at student concerts, made a suggestion: "Enough for you to study! You are already a ready-made pianist. Give concerts, and the stage will teach you what no professor in the world can teach you." However, only seven years after this conversation, Maykapar decided to give an independent concert, which he gave in Berlin, immediately after finishing his studies with Leshetitsky. The concert program included pieces performed with Leshetitsky.

Two weeks later, in the same Bechstein hall, the second concert of Maykapar took place in Berlin, which was also a solid success, but with the most modest criticism of criticism, since Maykapar refused to give the reviewer a certain reward for a favorable review in the magazine.

In 1898 Maykapar returned to Russia and settled in Moscow. He strives to perform in concerts as often as possible. Maikapar prepares for performances with great care, thinks over concert programs, regardless of whether it is his own clavierabend, performance in an ensemble (with violinist Press, pianist Ganeshina), or in a charity concert. He includes his own works in them with great care and in a minimal amount.

The Russian press, unlike the foreign press, treated Maykapar sympathetically. Here is what was written, for example, about his first concert in Moscow: "...Bach's C-minor fugue, Schubert's A-minor sonata, several small pieces by Grieg, Chopin, Schumann, Leshetitsky (one of the pianist's teachers) and Tchaikovsky gave the pianist the opportunity to introduce audience with his sympathetic talent. He plays without any tricks, deliberate effects, simply, musically, modestly and intelligently. He, perhaps, does not have enough temperament for the artistic completeness of the performance, and this is one of the reasons why we do not hear from him, so to speak, the tops, the final points of an addicted artist, exciting and also captivating. So be it, but in our time, both the integrity of thinking and the ability to express everything in an understandable language should enjoy genuine attention ... "(" Russian Musical Newspaper ", 1900, No. 15 -16).

Maykapar for the first time in methodological literature raised the question of the need for the development of inner hearing for musicians and specifically pointed out the possibility of its development. Maykapar takes an active part in the "Scientific and Musical Circle" organized in Moscow in 1902, led first by S. Taneyev, and later by professor of physiology A. Samoilov. The members of the circle were prominent Moscow musicians and scientists who were interested in music. Maykapar became the secretary of the circle and the organizer of all reports.

Maykapar had to come to meetings of the circle from Tver, where in 1901 he opened his own music school. She lasted three years. In such a short time, of course, Maykapar could not see significant results of his pedagogical work, however, classes with children led Maykapar to the idea of creating children's piano pieces "Miniatures" and "Three Preludes" for piano, which found a favorable response in the press.

The difficulty of conducting scientific work in the field of music in Russia was one of the reasons that prompted Maykapar to go abroad. Berlin at that time was the center that attracted the largest musicians in Europe. In Berlin I beat with a key concert life; symphonic and solo concerts were held daily in several halls. Maykapar went to Berlin without delusions. Arriving there, he again gave a concert in the Bechstein Hall, and then began to give concerts in other German cities.

Maykapar chose not Berlin as his main place of residence, but Leipzig, which was of interest to him as a center of scientific musical thought. Living in these two cities, Maykapar attended concerts, studied literature, met composers, musicologists and performers. His own concert performances took place in small halls. Great success fell on his performance with his wife, Sofia (Sultane) Maykapar. Her colorful soprano voice drew great praise.

Maykapar conceives the creation study guide, which, based on scientific data, would highlight the most important issues of teaching the piano. As if in continuation of a published book on musical ear, separate parts were to bear the headings: "Rhythm", "Technique", "Sight Reading", "Pedalization", "Public Performance", etc. This work was begun by Maykapar, continued for many years, much has already been done, but not completely completed. The task turned out to be too difficult to solve by one person, taking into account the exceptional conscientiousness of the author.

Living abroad, Maykapar does not lose touch with Russia. Here his relatives lived, here he came to rest in the summer. In 1910, when he was in Berlin, he received the following letter from the director of the St. Petersburg Conservatory A. Glazunov:

"Dear Semyon Moiseevich (Glazunov erroneously calls Maykapar Semyon, and not Samuil Moiseevich. - R.A.). I bring to your attention that at the meeting of the artistic council held on September 18, I proposed you as a candidate for piano teacher, both junior and and higher class. The Council authorized me to notify you of this. Elections are to be held in the very near future and I will notify you by telegram of the result of the elections, which, I hope, will be favorable. With sincere respect and devotion, A. Glazunov."

The prospect of conducting pedagogical work at the conservatory, where he himself studied, seemed seductive to Maykapar. The St. Petersburg Conservatory enjoyed a reputation as one of the best musical educational institutions in the world. For the pedagogical work of Maykapar, the situation at the conservatory was very favorable. The piano department of the conservatory was headed by A. Esipova, a student of Leshetitsky, who enjoyed unquestioned authority due to her artistic and pedagogical fame; in addition to Esipova, among the professors of the conservatory were other students of Leshetitsky - K. fan-Ark, who died in 1909, M. Benz-Efron.

When the question arose at the conservatory about inviting a new piano teacher, no one objected to Maykapar's candidacy. He was a pupil of the St. Petersburg Conservatory, belonged to the Leshetitsky school, gave concerts and conducted pedagogical work abroad. In addition, he also had a university education, which is not so common among professional musicians. Of certain significance was the fact that he graduated from the conservatory in two specialties in his time and in the present has already made a name for himself as a composer and author of a valuable musical-theoretical book on musical ear.

Soon Maykapar received a telegram informing him of the favorable outcome of the ballot in the artistic council of the conservatory. Since autumn, he has already started classes. Starting as a teacher, two years later he was approved as a senior teacher, and in 1915 as a professor in the special piano class.

For almost twenty years Maykapar conducted pedagogical work at the St. Petersburg - Leningrad Conservatory, at the same time performed in concerts, composed music and studied scientific work. His concert performances, mainly in the Small Hall of the Conservatory, attracted by the culture of performance. Maykapar belonged to the number of "smart" performers, whose rational principle prevailed over emotionality. "... Mr. Maykapar is not only a pianist, but, what is especially gratifying to emphasize, is a thoughtful musician, and this quality is rarely found in modern concert performers," one of the reviews of his concerts noted. Maykapar's most significant performance achievement was in 1925 a cycle of seven concerts in which he performed all piano sonatas Beethoven. Performing, which Maykapar always loved, remained for him the basis of all other activities - composition, pedagogy, scientific work.

Of the works by Maykapar, created in pre-revolutionary times, piano miniatures are of great interest: "12 Album Sheets", "Puppet Theater" of seven numbers. However, the true triumph of Maykapar as a composer for children is "Spikers" - a cycle of plays created after the revolution.

During his work at the Leningrad Conservatory, Maykapar graduated over forty pianists. In his own pedagogical work, Maykapar was a follower of the Leshetitsky school. Maikapar, however, did not remain an imitator of his teacher's methods. Maikapar has been a searching teacher all his life.

Striving for new achievements, Maykapar always turned to science. Acoustics, physiology, psychology and other sciences, which he used to substantiate certain provisions of musical practice, were by no means always able to answer the requirements placed on them, and for Maykapar, delving into scientific questions often had only a fundamental meaning.

As a scientist and public figure Maykapar was especially active in the twenties. Maykapar took part in reforming the curricula of the conservatory, participated in the work of various commissions. He delivers methodological reports at meetings of the piano faculty. His work "The Scientific Organization of Labor as Applied to the Work of a Performing Musician" appears, studies the system of work of the largest Western pianists: Egon Petri, Arthur Schnabel, Ignaz Friedman. In 1927, Maikapar's book "The Significance of Beethoven's Work for Our Modern Times" was published, with a large preface by A.V. Lunacharsky. In this book, created on the basis of an in-depth study of the work of the great composer, as well as in a report read at the conservatory at a solemn meeting in memory of the 100th anniversary of Beethoven's death, Maykapar asserted the thesis: "The great legacy left to humanity by Beethoven, a hundred years after his death retains all its strength and all its cultural significance, fully meeting the needs of our modernity, but we ourselves are far from fully identifying and using its cultural value.

During these years, a difficult situation arose in the conservatory, due to the struggle of various schools and trends within the piano faculty. All this demanded a strain of forces from Maykapar. He began to get sick. Having brought the last students to graduation, Maykapar in 1929 left his job at the conservatory. He gave his remaining strength musical creativity and literary works. During the RAPMA period, when the administrative activities of this organization extended to almost all musical institutions, Maykapar's compositions were either rejected by the editors of Muzgiz, or their printing was delayed. The unsuccessful attempts of the composer to change the current situation forced him to engage in the promotion of his compositions through authorial concerts in music schools, pioneer palaces and other institutions in Leningrad and Kyiv. Only in 1932, after the liquidation of the RAPMA, did Maikapar's works begin to go out of print again, but even then in an amount far from satisfying the demand for them.

Maikapar was very hard on leaving the conservatory. He was still full of creative ideas, he wanted to perform, to conduct pedagogical work. To these experiences was added the bitterness of the loss in the early 30s of the beloved eight-year-old Nadechka, the daughter from Maykapar's second marriage to the violinist Elizaveta Aronovna Totesh, who at one time received her education at the conservatory.

In 1934, a competition was organized in Leningrad young talents, which involved child musicians aged seven to sixteen. Maykapar was a member of the jury of the competition. More than half of the speakers played his piano pieces. The decision of the Lensoviet of April 17, 1934 stated: "Mark great job by watching and promoting artistic education children in connection with the competition of young talents, which has a huge cultural significance, and approve the decision of the competition committee on the award of Maykapar S.M."

In the last years of his life, Maykapar worked especially hard on questions of the theory of performance. He almost completed the work "Creativity and work of a musical performer according to experience and in the light of science." Maykapar's work remained in manuscript, but his thoughts on the technique of working on piece of music were reflected in the lectures he gave in the spring of 1935 at the House for the Artistic Education of Children in Leningrad. The lectures were called "How to play the piano" and were intended for school-age children. The surviving summary of the lecture gives an idea not only of their content, but also of the form in which Maykapar presented quite specific information to children. This work by Maykapar, for all its brevity, may be of some use to musicians-teachers as an example of how it is possible to give necessary information about the analysis of a musical work and its further learning in connection with the peculiarities of the texture.

In the same 1935 Maykapar wrote an article "Children's Instrumental Ensemble and Its Significance in the System of Musical Education".

One of the main obstacles to the introduction of the ensemble into classes with children in those years was the lack of the necessary simple literature. With the same sequence with which Maikapar composed cycles of light piano pieces ("Spikers", "Miniatures", etc.), he writes four-handed pieces ("First Steps"), pieces for violin and piano (sonata "Richs", " Songs of the day and night"), for trio and other types of instrumental ensemble.

In the last years of his life, in addition to composing pieces for an instrumental ensemble and the unfinished cycle of light preludes and fugues for pianoforte, Maykapar continued to pay much attention to methodological work. All my life, having spent at the piano and desk, Maykapar did not get tired of working until the last days and died on May 8, 1938, on the eve of the publication of his book "Years of Teaching". He was buried at the Literary bridges of the Volkov cemetery in Leningrad.

A complete collection of Maykapar's published works can fit into one volume. Although their number is very large (over 200 titles), most of them are piano miniatures that fit on one or two pages. Maykapar's works were published in Germany, Austria, England, France, America, but it does not follow from this that during the life of the author they were widely distributed. At first, when Maykapar was not known as a composer, his first compositions (romances and piano pieces) were printed abroad in small numbers and, as was customary then, at the expense of the author. Subsequently, when Maykapar's children's plays were recognized, only some of them were reprinted by foreign publishers. The vast majority of Maykapar's writings were published in Russia. During the life of Maykapar, they were produced in quantities that no longer met the demand; after the death of the author, this demand increased every year and required multiple reprints. Nowadays, in any music library in Russia, a card index with the title of his compositions can compete in volume with the number of cards containing the titles of compositions by the greatest composers of our time. Characteristically, only Maikapar's children's piano pieces were often reprinted.

Writing music for children is a very necessary, honorable, but not easy thing. “Yes, many, many conditions are needed for the education of a children's writer,” Belinsky pointed out, “you need a gracious, loving, meek, childishly ingenuous soul; an exalted, educated mind, an enlightened view of the subject, and not only a lively imagination, but also a lively poetic fantasy capable of presenting everything in animate rainbow images." To this he adds: "The best writer for children, the highest ideal of a writer for them, can only be a poet."

Satisfying the requirements set by Belinsky for children's writers, in many of his writings for children, S.M. Maykapar proved to be a true poet.

The name of the composer is widely known in Russia and abroad

children and youth. Thanks to artistic merit, understanding

child psychology and taking into account the characteristics of the children's gaming machine, plays

Maikapara has firmly entered the repertoire of young pianists. The kids love these

bright, figurative works. It can be said with certainty that there is no

one young musician who did not play or did not hear

comrades of some play by Maykapar.

1867 in the city of Kherson. Childhood and adolescence are associated with seaside

southern city - Taganrog.

Home music-making occupied a prominent place in the cultural life of the city.

Just as they played music in the Chekhov family, they spent a lot of time

music and in the Maykapar family. Samuel's mother played the piano well

Moiseevich, who studied in her youth in Odessa. Three of them played the piano

sisters, the fourth was learning to play the violin.

Taganrog was considered a musical city. Because the School of Music V

Taganrog was opened only in 1885, then, until that time, to study

music was possible only with private teachers. Teaching children to play

some musical instrument was almost indispensable in every

intelligent Taganrog family. Maykapar's father was enough

a wealthy person to give children not only secondary, but also higher

education.

Samuil studied at the same gymnasium that he graduated from eight years earlier.

the great Russian writer A.P. Chekhov. In 1885 Maykapar graduated

high school with a silver medal.

Gymnasium of A.P. Chekhov and S.M. Maykapar today.

.
Already at this time, music became his true passion and purpose of life.

Quite early Maykapar decided to become a musician. And in this respect

his parents and, of course, his first teacher played a positive role

music, Italian Gaetano Molla. Maykapar described him as

talented, temperamental and hardworking musician who taught him

understand and love music.

Maykapar was seven years old when he began learning to play the piano.

He inherited his musical abilities from his mother, and his love for music from

father, who, although he did not play any of the musical instruments, but

I was always ready to listen to music and felt it deeply. Systematic

piano lessons, playing in an ensemble, visiting chamber and other

Concerts brought up the taste of Maykapar, introduced them to the musical

literature. By the age of fifteen, he already knew the main works

symphonic and chamber music, having played with his sister in four hands a lot

Symphonies and quartets. He played almost all of Beethoven's sonatas and quite fluently

read from the sheet. At that time, Maykapar was considered the best accompanist in

Taganrog and performed not only with local amateurs, but also with visitors

professional musicians.

For higher education Maykapar went to St. Petersburg, where

was the country's oldest conservatory, which enjoyed a huge

major musicians who taught there. To continue the general

education, he intended to go to university.

Maykapar, as a graduate of the gymnasium with a medal, admission to the university

It was provided. He chose the Faculty of Law, as not requiring

students spend a lot of time on systematic studies. time

was necessary for Maykapar, since in case of admission to the conservatory

I had to practice playing the piano every day and in large quantities. The young man was

admitted to the junior year conditionally, for one year, as his technical

preparation left much to be desired.

Samuil Moiseevich entered the class of senior teacher V. Demyansky,

who for two years corrected the defects in the setting of his hands, taught

carefully work on a piece of music, significantly moved

Technique. Successfully passed the technical exam for the transition to senior year

conservatory, Maykapar moved to the class of the Italian pianist Veniamin

Chesi, who had just been invited as a professor to the Petersburg

conservatory.

For four years, Maikapar studied with Chezi, with the help of whom he

managed to get acquainted thoroughly with the piano music of Bach, Handel and

other old masters. After working at the conservatory for four years, Chesi

He fell seriously ill and went to his homeland in Italy.

Weiss, a student of Liszt. Weiss's teaching was erratic and

lack of any system. Maykapar was more considered his student than

worked with him. Maykapar prepared for the final exam on his own,

because shortly before the exam he fell ill. He played the program well and was

appointed to speak at the Conservatory Act, which was awarded to the best of

graduated.

When Maykapar passed the last of the auxiliary musical

theoretical subjects, A. Rubinshtein was present at the exam.

Having become acquainted with Maykapar's experience in composing music, he advised him

start studying composition theory. So Maykapar ended up in the classroom

professor N. Solovyov, having come to the end of the conservatory not only as

pianist, but also as a composer.

The years Maikapar spent at the conservatory turned out to be very

important because of the environment in which he was. While on duty

Director of the Conservatory, A. Rubinstein took to heart not only

interests of the institution, but also the fate of each student. Forever remembered

Maykapar and Rubinstein's bright performances on the stage.

A.G. Rubinshtein.

St. Petersburg Conservatory.

Maykapar University graduated two years earlier than the conservatory. He

for a short time he tried to practice advocacy, but soon became convinced that

it is impossible to combine music lessons with jurisprudence. But, doing in

University, Maykapar acquired a certain breadth of views,

disciplined his thinking, learned to argue and clearly state

your thoughts. This allowed him to subsequently go beyond the narrow

musical specialization and become an outstanding researcher in

areas of music.

Even after receiving a conservatory education, Maykapar was not

pleased with the results achieved. He is critical of his

pianistic opportunities, goes to Vienna to study with the famous

Theodor Leshetitsky (1830-1915). This outstanding teacher brought up more than

thousands of pianists, many of whom successfully performed at concert

scenes throughout most of the 20th century. Among them are Anna Esipova, Vasily

Safonov, Arthur Schnabel.

Theodor Leshetitsky

Maykapar was characterized by perseverance, which made him, having set to work,

delve into the smallest details until the issue is fully understood.

Such exceptional conscientiousness was manifested by Maykapar in all

areas. A. Rubinstein, who heard Maykapar repeatedly at student

concerts, turned to him with a proposal: "It's enough for you to study! You already

now a trained pianist. Give concerts, and the stage will teach you what

not a single professor in the world can teach. "However, only after seven years

after this conversation Maykapar decided to make an independent

concert he gave in Berlin, immediately after the end of classes with

Leshetitsky.

as often as possible to perform in concerts. With great care Maykapar

prepares for performances, considers concert programs, regardless of

whether this is a solo performance, playing in an ensemble or in a charity

concert. He includes his own works in them with great

with caution and in the minimum amount.

Thinking over the development of your pianism, listening to the play of other musicians,

appears in print his large research "Ear for music,

its meaning, nature, features and method proper development". This

Maykapar showed himself as an outstanding scientist, musician,

not only playing, but also theoretically thinking. Particular attention was

entirely dependent on the outside. He pointed out: “The more we work

over a clear distinct perception of external impressions, the richer they are

colors and more diverse in nature, so will the inner hearing ...

receive more and more material for their development and enrichment.

Maykapar takes an active part in the event organized in 1902

Moscow "Scientific and Musical Circle", led first by S. Taneev, and

later professor of physiology A. Samoilov. The members of the circle were

prominent Moscow musicians and scientists who were interested in music.

Maykapar became the secretary of the circle and the organizer of all reports.

Maykapar had to come to meetings of the circle from Tver, where in 1901

In the same year he opened his own music school. She lasted three

of the year. In such a short time, of course, Maykapar could not see

significant results of their pedagogical work, however, classes with

children led Maykapar to the idea of creating numerous children's plays

for pianoforte, which found a favorable response in the press. From the number

Maykapar's works, created in pre-revolutionary times, are of great interest

present piano miniatures: "12 album sheets", "Theatre

puppets" of seven numbers. However, the true triumph of Maykapar as

composer for children are "Spikers" - a cycle of plays created after

revolution.

The difficulty of conducting scientific work in the field of music in Russia was one of the

the reasons that prompted Maykapar to go abroad again. Berlin in that

For a time, it was the center that attracted the largest musicians in Europe.

Maykapar did not choose Berlin as his main place of residence, but Leipzig,

which was of interest to him as the center of scientific musical thought.

Visiting these two cities, Maykapar attended concerts, studied literature,

met with composers, musicologists and performers. His own

concert performances were held in small halls. Great success has been

to his performance with his wife - Sofia Maykapar. Her colorful soprano

received great praise.

Sofia Maykapar (1883-1956)

Maikapar is thinking of creating a textbook in which, based on

scientific data, the most important issues of teaching the game on

piano. As if in continuation of the published book on musical ear,

separate parts were to bear the headings: "Rhythm", "Technique", "Reading with

sheet", "Pedalization", "Public performance", etc. This work was

Maykapar started, lasted for many years, much has already been done, but

not finally completed. The task was too difficult to solve

one person, taking into account the exceptional conscientiousness

Living abroad, Maykapar does not lose touch with Russia. Here he lived

relatives, he came here to rest in the summer. In 1910, when he

was in Berlin, he received the following letter from the director of St.

Petersburg Conservatory A. Glazunov:

"Dear Samuil Moiseevich! I bring to your attention that on

You as candidates for piano teachers, both lower and higher

course. The Council authorized me to notify you of this. Elections must

take place in the very near future and the result of the elections, which,

I hope it will be favorable, I will notify you by telegram. Sincerely

respect and devotion A. Glazunov".

The prospect of conducting pedagogical work at the conservatory, where he himself studied,

Maykapar seemed seductive. Petersburg Conservatory

enjoyed a reputation as one of the best musical educational institutions V

the world. For the pedagogical work of Maykapar, the situation in the conservatory

turned out to be very favorable. Piano Department of the Conservatory

headed by A. Esipova, a student of Leshetitsky. She enjoyed

glory.

Anna Nikolaevna Esipova (1851-1914)

When the question arose at the conservatory about inviting a new lecturer in

piano class, Maykapar’s candidacy did not cause anyone

objections. He was a graduate of the St. Petersburg Conservatory,

belonged to the Leshetitsky school, gave concerts and led a pedagogical

work abroad. In addition, he also had a university education,

which is not so common among professional musicians. Known

what mattered was that he had graduated from the conservatory with two

specialties and in the present has already made a name for himself as a composer and author

valuable musical-theoretical book about musical ear.

Soon Maykapar received a telegram informing him of

favorable outcome of the ballot in the artistic council of the conservatory.

Since autumn, he has already started classes. Started as a teacher

two years later he was approved as a senior lecturer, and in 1915 he became

professor of special piano.

For almost twenty years Maykapar conducted pedagogical work in the Petersburg -

Leningrad Conservatory, simultaneously performed in concerts, composed

music and scientific work. His concert performances

mainly in the Small Hall of the Conservatory attracted by culture

execution. Most significant performance achievement

Maykapar was holding in 1925 a cycle of seven concerts in which

he performed all of Beethoven's piano sonatas. performance, which

Maykapar always loved, remained for him the basis of all other species

activities - composition, pedagogy, scientific work.

During his work at the Leningrad Conservatory, Maykapar released

over forty pianists. In his own pedagogical work, Maykapar was

a follower of the Leshetitsky school, however, did not remain an imitator

techniques of his teacher, and all his life he was a searching teacher.

As a scientist and public figure, he showed himself especially actively

Maykapar in the twenties. He took part in the reform of educational

plans of the conservatory, participated in the work of various commissions, spoke with

methodological reports at meetings of the piano faculty. In these

years, his work "Scientific organization of labor as applied to

the work of a performing musician". In 1927, the book "Meaning

Beethoven's work for our modern times" with a long preface

A.V. Lunacharsky

At the end of the twenties, a difficult situation arose in the conservatory, in

connection with the struggle of various schools and trends within the piano

faculty. All this demanded a strain of forces from Maykapar. He started

get sick. Having brought the last students to graduation, Samuil Yakovlevich in 1929

left work at the conservatory. He gave the remaining strength to the musical

creativity and literary work.

He was almost finished with the work "Creativity and work of the musical

performer according to experience and in the light of science". The work of Maykapar

remained in the manuscript, but his thoughts on the technique of working on musical

work was reflected in the lectures that he gave in the spring of 1935 in

House of artistic education of children in Leningrad. The lectures were called

"How to play the piano" and were intended for school-age children.

In the same 1935 Maykapar wrote an article "Children's instrumental

ensemble and its importance in the system of musical education”.

In 1934, a competition for young talents was organized in Leningrad, in

which involved child musicians aged seven to sixteen

years. Maykapar was a member of the jury of the competition. More than half

The speakers played his piano pieces. In the resolution

review and promotion of artistic education of children in connection with

competition of young talents, which has enormous cultural significance, and

approve the decision of the competition committee on bonuses

Maykapara S.M.".

IN last years life, in addition to composing pieces for instrumental

ensemble and the remaining unfinished cycle of light preludes and fugues for

piano, Maykapar continued to pay much attention to the methodical

work. All his life, having spent at the piano and writing desk, Maykapar did not

the light of his book Years of Learning. He was buried at the Literary bridges

Volkov cemetery in Leningrad.

The complete collected works of Maykapar can fit into one

volume. Although their number is very large (over 200 titles), most

of them - piano miniatures, fitting on one or two pages.

Maykapar's works were published in Germany, Austria, England, France,

America, but it does not follow from this that during the life of the author they used

ubiquitous distribution. At the beginning, when Maykapar was not known as

composer, his first compositions (romances and piano pieces) were

printed abroad in small numbers and, as was customary then, at the expense of

recognition, they were produced in quantities no longer satisfying demand.

multiple reprints.

Writing music for children is a very necessary, honorable, but not easy thing. "Yes,

many, many necessary conditions for education children's writer, - indicated

Belinsky, - we need a gracious, loving, meek, infantile soul

simple-hearted; sublime mind, educated, look at the subject

enlightened, and not only a living imagination, but also a living poetic

a fantasy capable of presenting everything in animate iridescent images.” These

words to an even greater extent can be attributed to the children's composer.

(The basis of this work was an article on the website of the St. Petersburg Society of Karaites)

December 18, 1867 - May 08, 1938

famous pianist and composer, teacher at the Petrograd Conservatory, music writer

A multi-talented musician, Maykapar was known as the author of a number of piano pieces for children and youth. In particular, his cycle of piano miniatures "Spikers", his romances and "Musical ear" (Moscow, 1900) won great popularity.

Biography

Shortly after his birth, Samuil Maykapar's family moved from Kherson to Taganrog. Here he entered the Taganrog gymnasium. He began to study music at the age of 6 (lessons from G. Moll).

In 1885 he moved to St. Petersburg and entered the conservatory, where he studied as a pianist with Beniamino Cesi, Vladimir Demyansky and I. Weiss, as well as in the composition class of Nikolai Solovyov. At the same time, he studied at the Faculty of Law of St. Petersburg University (graduating in 1891).

After graduating from the conservatory in 1893, until 1898 he improved as a pianist under the direction of Theodor Leshetitsky, gave concerts in Berlin, Leipzig, St. Petersburg, Moscow and other cities.

From 1898 to 1901 he performed in concerts with Leopold Auer and Ivan Grzhimali. In 1901 he founded a music school in Tver. From 1903 to 1910, living mainly in Moscow, he was engaged in concert activities, systematically gave concerts in Germany.

He took an active part (secretary) in the work of the Moscow scientific and musical circle led by S.I. Taneyev. From 1910 to 1930 he taught piano at the St. Petersburg Conservatory. He was the initiator of the performance of Beethoven's cycle of 32 sonatas in concerts (for the first time in 1927).

Maikapar, Samuil Moiseevich

Genus. December 6, 1867 in Kherson. He studied music in Taganrog with G. Moll, then in St. Petersburg, where in 1891 he graduated from the law faculty of the university and in 1893 - from the conservatory in the class of piano. (Chesy) and compositions (Soloviev). After graduating from the conservatory, he improved with Leshetitsky in Vienna, after which he performed in concerts in Berlin, Leipzig, St. Petersburg, Moscow, etc. Lives in Moscow. His pieces for piano have been published. (op. 2, 3, 4, 5,), romances (op. 1) and the book "Musical ear" (Moscow, 1900; research on the nature and meaning of musical ear, criticism modern methods its development and the proposal of a new method, which gives equal importance to both the development of pure intonation and the refinement of the sense of sound color and nuance).

Maikapar, Samuil Moiseevich

genus. Dec 18 1867 in Kherson, mind. May 8, 1938 in Leningrad. Composer. Graduated from Petersburg. cons. in 1893 in class. f-p. I. Weiss (previously studied with V. Demyansky and V. Chesy), in 1894 in class. compositions by N. F. Solovyov. In 1894-1898 he improved as a pianist with T. Leshetitsky in Vienna. He performed as a pianist. In 1901-1903 hands. music schools in Tver. In 1903-1910 he lived and worked in Germany. In 1910-1930 teacher Petrogr. (Leningr.) cons. (professor since 1917).

Cit.: String. quartet; F-p. trio; for unison skr. and f-p. in 4 hands - suite Labor songs of peoples (according to K. Bucher); for skr. and f-p. - Easy sonata, Song of the day and night, Bagatelles; for fp. - sonatas (c minor, a minor), variations, three preludes, eight miniatures, lyrical variations, small suite in classical style, Small novellas, Two pieces, Fleeting thoughts, Fantastic variations, Two octave intermezzos, Twelve brush preludes without stretching per octave, Shepherd's Suite, Twelve album leaves, Poem in six stanzas, Barcarolle, Harlequin Serenade, Puppet Theatre, Grand Sonatina, Lullaby Tales , Two tender notes, Spillikins, Little Suite, Staccato Preludes, Miniatures, Second Sonata, Ballad, Four Preludes and Fughettas, Twenty Pedal Preludes; for fp. 4 hands - First steps; for voice and piano - romances on cl. German poets, N. Ogareva, G. Galina, K. Romanova and others; cadenza to Mozart's Concerto for 2 pianos with orc. B-flat major.

Lit. cit.: Ear for music, its meaning, nature, features and method of proper development. M., 1890, 2nd ed. Petrograd, 1915; The value of Beethoven's work for our time. M., 1927; Years of study. M. - L., 1938; How to play the piano. Conversations with children. L., 1963.

Maikapar, Samuil Moiseevich

(born December 18, 1867 in Kherson, died May 8, 1938 in Leningrad) - Sov. composer, pianist, teacher, musician writer. He began to study music at the age of 6 (lessons from G. Moll). In 1885 he moved to St. Petersburg and entered the conservatory, where his main teachers were I. Weiss (fp.), N. Solovyov (composition). At the same time, he studied law. faculty of the university (graduated in 1890). After graduating from the conservatory until 1898, he perfected himself as a pianist by hand. T. Leshetitsky. From 1898 to 1901 he performed in concerts with L. Auer and I. Grzhimali. In 1901 he founded the Mus. school in Tver (now the city of Kalinin) and headed it until 1903. From 1903 to 1910, living predominantly. in Moscow, was engaged in concert activities, systematically gave concerts in Germany. He took an active part (secretary) in the work of the Moscow scientific and musical circle led by S. Taneyev. From 1910 to 1930 he taught piano at the St. Petersburg-Petrograd-Leningrad Conservatory. He was the initiator of the performance in concerts of a cycle of 32 Beethoven sonatas (for the first time in 1927). A multi-talented musician, M. was known as the author of the piano. plays for children and youth. In particular, his cycle of piano miniatures "Spikins" won great popularity.

Cit.: camera-instrument. ans. - quartet, fp. trio, "Easy Sonata" for Skr. and fp.; pieces for fl., including Sonata, Ballad, Poem, several. cycles of variations, 2 series of "Fleeting Thoughts", 2 octave intermezzos, etc.; St. 150 fp. plays for children, including Spillikins (26 plays), 24 miniatures, 18 short stories, 4 preludes and fughettas, 20 pedal preludes, etc.; plays for Skr. and fp.; romances; books "Musical ear" (1900, 2nd ed. 1915), "The significance of Beethoven's work for our time", with a preface. A. Lunacharsky (1927), "Years of teaching and musical activity", "A book about music for older students" (1938), etc.

Big biographical encyclopedia. 2009 .

See what "Maikapar, Samuil Moiseevich" is in other dictionaries:

Maykapar, Samuil Moiseevich pianist and composer (born 1867), teacher at the Petrograd Conservatory. He graduated from St. Petersburg University in the Faculty of Law (1891) and then the St. Petersburg Conservatory (1893, student ... ... Biographical Dictionary

Samuil Moiseevich Maykapar Basic information Date of birth ... Wikipedia

- (18671938), pianist, composer. Student of T. Leshetitsky. Author of many children's (including instructive) piano pieces (cycle "Spikers" and others), educational methodical works. He taught (191030; piano) in St. Petersburg ... ... Big encyclopedic Dictionary

- (December 18, 1867, Kherson May 8, 1938, Leningrad) famous pianist and composer, teacher at the Petrograd Conservatory, music writer. Karaite by origin. A multi-talented musician, Maykapar was known as the author of a whole ... ... Wikipedia

Samuil Moiseevich Maikapar Samuil Moiseevich Maikapar (December 18, 1867, Kherson May 8, 1938, Leningrad) is a famous pianist and composer, teacher at the Petrograd Conservatory, music writer. Karaite by origin. Versatile ... ... Wikipedia

Sofya Emmanuilovna Maykapar ... Wikipedia

Books

Samuil Moiseevich Maikapar. Spillikins, Astakhova N.V.. S. M. Maykapar taught little "musicians" to play the piano and wrote works for them, the most famous of which were plays from the "Spillikins" cycle - that's what tiny toys are called "...

Elena Kurlovich

Target: Communion children to creative heritage composer C. M. Mikepara.

Tasks: 1. Teach children to distinguish the figurativeness of music, means musical expressiveness, a form of musical compositions.

2. Develop a sense of rhythm, the ability to convey the nature of music through movements.

3. Cultivate emotional responsiveness, love for music.

Hall decoration:

Portrait of S. M. Mikepara, a music box, children's small toys, a book of fairy tales, photographs of the St. Petersburg Conservatory.

Doesn't sound loud "Waltz" WITH. Mikepara. Children enter the hall, sit down.

Musical director:

Hello dear listeners! Today we have gathered with you in the music room to hear the music, dedicated to you children. Wrote it composer Samuil Moiseevich Maykapar. (Showing a portrait. Figure 1.) Samuel Maykapar was born over one hundred and forty years ago. There are children in the family - Samuil and his four sisters, who have been involved in music since childhood. His mother played the piano very well. The boy's music lessons began at the age of six, and at the age of nine Maykapar took part in concerts.

When he grew up, he went to study at the St. Petersburg Conservatory. (Figure2. Figure3.) tal write, compose music, including for children. Very famous for his children's piano cycle "Spikers". Listen to the very sound of this word - it is affectionate, gentle, musical. A long time ago "Spikers"- Was my favorite game kids. On the table spilled a bunch of very small little things: cups, jugs, ladles and other household utensils. It was necessary to get the spillikins from the pile with a small hook, one after the other, without moving the rest.

A game "Spikers" in the modern version

Musical director:

Little plays Mikepara reminiscent of those same spillikins from old game. Listen to one of them "Shepherd" (Performance)

Shepherd - a little boy, which on a bright, sunny day went out onto a summer, flowering meadow near the river. So that it would not be boring to pasture his flock, he cut off a reed for himself and made a small pipe out of it. The bright, joyful tune of the pipe rings over the meadows. In the middle of the miniature, the melody sounds excited, anxious, and then sunny and joyful again. Let's play this play orchestrate: when the music will sound light, joyful - voiced triangles will accompany it. And if you hear disturbing, excited notes, they will be accompanied by a tremolo of tambourines, maracas and tambourines.

Orchestration of the play "Shepherd"

Also Samuel Maykapar wrote music, dedicated to nature, the seasons. What's happened "scenery" you all know very well. (Answers children) Now a play will sound for you "Spring". In it you can hear the voices of nature awakening after hibernation. This is the ringing of streams, lively bird trills. The music is light, tender, transparent, just like fresh spring air.

Hearing a play "Spring"

Maybe one of you knows poem about spring and read it to us?

Reading poems about spring

Musical director:

Guys, do you like puzzles? (Answers children) Try to guess this riddle:

In the morning the beads sparkled

All the grass was tucked in.

And let's go look for them during the day -

We are looking for, we are looking for - we will not find! (Dew, dewdrops)

Samuel Mikepara there is a play with the same name "Rosinki". Let's try to convey the lightness and transparency of these small droplets-beads in motion.

Musical-rhythmic exercise "Easy run" to music by S. Mikepara"Rosinki"

Now we have an exciting journey into the world of fairy tales. But in order to get there, you need to cast some kind of spell or open a small magical music box. She will lead us into the world of fairy tales.

Sounds like a play "Music box"

What can you say about this music? (Answers children) She looks like a toy. Her sounds are very high, light, ringing. Reminiscent of the game of tiny bells, inviting us to a fairy tale. And in fairy tales there are many various miracles and magic. For example, "Seven-league boots". How the composer portrays them? These are big jumps of individual accented sounds, measured and heavy, like the giant steps of a giant overcoming great distances.

Hearing a play "Seven-league boots"

next play composer named"Fairy Tale". Do you have your favorite fairy tales? (Answers children) Yes, stories are different. Listen "Fairy tale". What words can describe the music played? (Answers children) The melody sounds soft, a little sad.

A mood of light thoughtfulness is created. Or maybe someone presented their story while listening to this play? (Answers children)

Today, guys, in our music lounge, we touched the musical heritage composer C. M. Mikepara. Pieces from the children's piano cycle sounded for you "Spikers". That and naughty "Shepherd" (Figure4. Figure5.)

And "Seven-league boots" (Figure9. Figure10.)

And "Music box", and play "Spring" (Figure6. Figure7.)

and small "Fairy Tale" (Figure 11.)

And "Rosinki" (Figure 8.)

And I suggest you go to our art studio "Rainbow", and what you remember most, express it in your drawings. Wish you creative uplift and inspiration!

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