Фортепіанна техніка, як основа розвитку піаніста-фахівця

Abstract

Розглянуті деякі проблеми теорії і практики фортепіанного виконавства. Особлива увага приділяється питанням фортепіанної техніки в науково-дослідних і методичних роботах педагогів-піаністів України ХХ ст. Підтверджено, що вивчення робіт українських педагогів-піаністів необхідно в якості рекомендацій студентам для вдосконалення фортепіанної техніки.

The problems of theory and practice of piano performance are discussed. The issues related to the piano playing technique, the advent of a more technically complicated repertoire, which resulted from the instrument improvement, and to emergence of a variety of piano playing schools in both Europe and Russia of the 19th – the beginning of the 20th centuries are analyzed. The necessity of multiaspect analysis of tendencies and processes pertaining to investigation of piano techniques problems, characteristics of the anatomicophysiologic and psychotechnical trends in the theory of pianism are interpreted. Special attention is paid to the issued of piano technique in research and methodological papers by teachers-pianists of Ukraine of the 20th century. V.Shapiro’s paper was analyzed, dedicated to the experience of an outstanding teacher L.Nikolaev, wherein the author considers his school of performance not as a collection of technical skills, but as a complex of entire artistic worldview. The paper places special emphasis on peculiar features of legato playing, which is associated with a particular importance of this accent in emphatic performance of a piano composition. Analyzing versatile playing techniques and forms of hand movements, the author emphasizes that, in order to unveil the artistic sense of a piece of music being performed, one should master the skills of playing with different accents and give special attention to working on the sound as early as in the first years of study. A scientific paper by G. Beklemishev was studied, associated with analysis of the anatomic physiologic trend in piano teaching, in which the author insists that the permanent emphasis on the active or passive status of hands can lead to a performers’ psychological “cramp”, underlining, however, that the movements of hands still have to be analyzed when playing, for faster achieving results in overcoming technical difficulties in piano compositions. In addition, the paper analyses the issues related to musical memory and a pianist’s work with a rhythmometer. It has been proven that the works of Ukrainian teachers-pianists should be studied as recommendations to students for improvement of the piano technique.