NGMBOUDOD Children's music school named after. Nefteyugansk city.
METHODOLOGICAL REPORT
"FROM. Maykapar and his piano cycle "Spillikins"
Compiled by:
teacher
piano department
S. Maykapar and his piano cycles.
Cycle "Spikers"
S. Maikapar was born in Kherson in 1867, his childhood years were spent in Taganrog, then Maikapar entered St. Petersburg University at the Faculty of Law, which he graduated in 1891 and at the same time at the St. Petersburg Conservatory, where he studied in two specialties: composition and piano. After graduating from the conservatory and on the advice of Anton Rubinstein, Maykapar goes to Vienna to improve with the famous pianist Professor Theodor Leshetitsky. From 1903 to 1910 Maykapar lived in Germany. He gives concerts, composes, and is engaged in scientific activities. In 1910 Maykapar received an invitation from A. Glazunov to teach at the St. Petersburg Conservatory. In 1930, Maykapar left the conservatory and devoted himself entirely to creative work - composition, performance, and scientific work. Maykapar died on May 8, 1938.
The complete collection of Maykapar 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 plays were published in Germany, Austria, England, France, and America. Maykapar's catalog of compositions contains piano pieces, romances and compositions for chamber ensemble.
Maikapar began composing at the age of 14-15 and continued throughout his life. And it was in the field of children's music that the name of S. Maykapar became widely known in the country. He found musical images and intonations close to the child; through his pieces for beginners, he teaches children to love music, opening up to them the wide possibilities of their own creativity and the way to the knowledge of the beautiful art of sounds.
It would be in vain to look for striking stylistic features in Maykapar's children's plays. Their value is not in any unique individual features of melody, harmony, etc., but in the combination of all elements, each of which may not be so significant. Clear purposefulness, immediacy of expression, combined with great performing and pedagogical experience, helped Maykapar become one of the founders of Russian children's piano literature. He developed an integral system for the development of piano technique. His cycles of piano works, addressed to young pianists, are built according to a very specific plan, covering one or another section of piano technique or a type of pianistic difficulty. At the same time, the principle “from simple to complex” is strictly observed. According to this plan, a cycle of 12 hand preludes op-14, two octave intermezzoor-13, staccato preludes op-31 was created. The tasks in the collection of ensemble pieces “First Steps op-29 in Piano 4-Hands. A clear pedagogical plan can be seen in the famous “spillikin” cycle (it is associated with familiarizing the student with all 24 keys).
If we take Maykapar's work in the field of small forms as a whole, then Grieg turns out to be closest to him both in form, and partly in spirit. Composing children's plays, Maykapar proceeded from the conviction that the general requirements of young artists are the same as those of adult performers; this is a requirement of figurativeness, colorfulness, then simplicity and artlessness of compositions. I gave this site the best forces of my creativity.
The qualities that are characteristic of Maykapar as a "childish" composer are: vitality and figurativeness of the content (lack of artificiality, deliberateness, far-fetchedness), sincerity and emotionality, simplicity and laconism, completeness of form, organic connection with the instrument.
Here is how Maykapar distributed the plays according to their content:
Pictures of nature:“Morning” Op.15 No. 1, “Evening”, “Night”, “Autumn”, “Echo in the Mountains”, “Spring”, “Clouds are Floating” Op.23 No. 24, “By the Sea at Night”, “In Fog ”, “dewdrops”, “quiet morning”, “turbulent stream”, “starry night” op. 33 No. 19.
Onomatopoeic plays:“pipe”, “in the forge”, “musical clown” op.16 No. 6, “at war”, “music box”, “friendly work”, “cavalry is coming”, “eolian harp” op.
The plays are figurative and pictorial:"Lullaby" Op.8, "Italian Serenade" Op.8, "Mermaid", "Dance of the Clowns" Op.21, "Catching Butterflies", "In the Garden", "Orphan", "Shepherd", "Fleeting Vision", “moth”, “lullaby”, “song of the sailors”, “seven-league boots”, “on the skating rink”, “rider in the forest”, “butterfly” op. 33 #8.
Pieces of mood and feeling:“sad mood”, “complaint” op.15, “dream” op.16, “in separation”, “remembrance”, “troubadour song”, “anxious minute”, “funeral march”, “meditation”, “long journey ”, “call song”, “elegy” op.33, “fun game” op.33, “dramatic excerpt”.
Dancing: gavotte op.6, tarantella, waltz, minuet op.16, polka, mazurka op.33.
Narrative music:“fairy tale” op. 3, “romance”, “dialogue” op. 15, “stepdaughter and stepmother” op. 21, “lullaby tales” op. sailor's story, op.33.
Music titles: "children's play", "prelude and fughetta", "operetta", "melody" op. 8, "album leaf", "nocturne" op. 8, "schercino" op. 8, "small rondo", "prelude op.16, “variations on a Russian theme”, “fughetta” op.8, “sonata” op.27, etc.
The vast majority of Maykapar's piano pieces are program works, this is explained by the desire to awaken the imagination of children with the help of their characteristic names, that is, by associative comparison of sound images with phenomena and emotions that are well known to children. Maykapar concretized the content of the plays, he realized the special need to create children's plays for beginners, which was done with exceptional success in the "spills" cycle.
"Spikins".
The cycle of piano pieces for children by S. Maykapar "Spikers" is one of the classic works of the pedagogical repertoire and is on a par with such collections as "Anna Magdalena Bach's music book", "Children's Album", "Album for Youth" by F. Schumann. Created in 1925-1926, the Spillikins cycle enjoys unchanging love among both young musicians and their teachers. The pieces of the collection are distinguished by everything that is characteristic of true masterpieces - regardless of whether it is a monumental work or a miniature - inspiration, ideal harmony of form, perfect finishing of details. Now, few people know what spillikins are. Once it was a game very popular with children: a handful of chopped straws is placed on the table in a pile; the players pull out, alternating one at a time without shaking the heap. "Spikers" is a suite that includes piano pieces of the most varied content. It consists of six notebooks with four plays each (the last notebook contains 6 plays). It is interesting to compare this collection with cycles, like “X. T.K. Bach, Spillikins, plays in all 24 keys. However, the constructive principle of constructing a "spikers" is somewhat different: Series I (notebooks 1 and 2) from C to 3 sharps; in the II series (notebook 3 and 4) from C major to 3 flats; Notebooks 5 and 6 cover pieces in keys with 4,5,6 characters. Thus, despite the fact that there are 24 keys in total, and 26 pieces, since the keys of C and a-moll as the starting points of movement to the sharp and flat sides are repeated twice. Understanding how important imagery is for young musicians, Maykapar was very serious about finding the brightest possible names for pieces; these were not always the first play titles that came to mind. So, in the original version, the “anxious minute” was called “anxiety”, “moth” - “elf”, “legend” - “dreams”, “spring” - “baby”. Instead of "Gavotte", the play "Moonlight" was originally conceived, although the music of this play does not give grounds for such an illusion. Some plays appeared, as the draft copies testify, immediately in finished form, while others were subjected to revision and revision. So the "little commander" did not immediately appear. First, "continuous work" was born. She was the melodic grain for the "little commander". “The f-moll miniature is now “seven-league boots” - according to the original plan, it had a completely different musical idea.
The themes of Maykapar's plays are always very expressive. They are characterized by a bright, memorable melody, usually of a short length. The “song of the sailors” is energetic, the tune in the “shepherdess” is technical. Each play is unique. Its name is not a label accidentally pasted on, but a definition of content that makes it possible to unfold the creative imagination of a young performer. The merit of the plays lies in the thematic material itself, and less so in its development. He resorts to contrasting comparisons, and if they are not needed, then he diversifies the repeating phrases by changing the harmonic background, accompaniment figures, and changing the register. The harmonies in the pieces are extremely simple.
Very often Maykapar resorts to polyphony, if at the beginning of his career he used the techniques of polyphonic writing rather intuitively, then later he came to the conclusion that polyphony is a necessary condition for creating a truly piano work.
Maykapar did not forget about the small size of a child's hand. Nowhere in his children's pieces do we find octaves taken with one hand, or chords in a wide arrangement. The octave doublings he encounters are always performed with two hands. Widespread use of the registers of the piano, associated with sweeping, complete freedom of movement of the hand and even the body, within the entire range of the instrument. Maykapar very often and skillfully resorts to this technique. Already the direct use of one or another register gives the corresponding artistic effect (high register - "moth", "dewdrops"; medium melodious "romance", "meditation"; low "funeral march", etc.). Moving within the same piece of any passage, phrase, or even a single chord from one register to another gives a different coloration of the sound. Combining transference with pauses, sustaining sound duration, barely noticeable changes in strokes, dynamic shades, etc. Maykapar achieves an increase in the semantic meaning of individual “pieces”, emphasizes changes in mood, etc. The use of registering in his pieces is one of the most effective techniques piano expression. His plays are always accompanied by a clear indication of the tempo of performance, often backed up by the notation of a metronome. The composer attached great importance to tempo indications, correctly considering that they give an idea not only of the speed of movement, but also of its character. Strokes, dynamic shades and other designations appeared inextricably linked with musical text. Fixing notes on paper, the composer simultaneously embodied the performing idea, providing for the accuracy of its implementation. It remains only for the performer of plays Maykapar to follow his instructions. In this case, they will help the artistic performance to the maximum extent. Maikapar has always marked legato and staccato (light and heavy), portamento, signs of length over a note, accents, etc. Placed slurs accurately indicate the beginning and end of a phrase, and dynamic signs indicate acceleration and deceleration of movement (using Italian terminology) always affixed exactly in the place where they should begin and where they should end. It is impossible not to note the peculiarities of the designation of fingering, affixed by Maykapar in his pieces, attaching great importance to it and the correct attitude towards it. Maykapar adhered to exceptional accuracy in the designation of pedalization, considering it an effective means of artistic performance. The use of the pedal in his pieces is very diverse and is always justified by artistic goals. Unfortunately. Even the teachers do not pay enough attention to the issues and designations of pedalization in Maikapar's plays and do not attach the importance that the composer attached to them.
I would like to draw special attention to the fact that the collection of "spills" is a cycle of diverse plays, that is, it has artistic significance as a whole. And although, of course, it is difficult to expect it to be performed by young musicians in its entirety, how far from often the cycles of Bach's inventions and symphonies are performed in their entirety, CTC, according to the original plan of the "spill-slip", was conceived as a single work. Everyone can easily be convinced of this if he realizes the peculiarities of the construction of the cycle (tonal plan) and plays the pieces one after the other: the appearance of each next one sounds like a surprise, not a dissonance with the previous one. It is quite obvious that only a great master could create a harmonious suite of 26 pieces.
Writing music for children is a very necessary, honorable, but not easy thing. Belinsky wrote “we need a gracious, loving, meek, melodic, ingenuous soul; a sublime, educated mind, a lively imagination, a lively poetic fantasy, capable of presenting everything in animated rainbow images.
Literature.
1. Samuil Maykapar and his piano cycles. "Classic" 2009
2. Portraits of pianists. D. Rabinovich. M., 1963
3. The initial period of learning to play the piano. , 1989
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, imaginative 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. Since the music school in
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, playing four hands with my sister 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 major research work "Musical ear,
its meaning, nature, features and method of correct 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 music schools in the world
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 the last years of his 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 conditions are needed for the education of a children's writer, - pointed out
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)
Many composers write music that both adults and children listen to with the same enthusiasm. But there are composers who devoted all their work to creating only children's music, and one that children could not only listen to, but also perform themselves.
Today we will get acquainted with the music of one of these children's composers, who lived more than 100 years ago. His name was Samuil Moiseevich Maykapar.
Samuil Moiseevich Maykapar was born in the city of Kherson in 1867. In the family, besides him, there were 4 sisters and all of them were engaged in music. Samuel inherited his musical abilities from his mother, who played the piano very well. He began to study music from the age of 5. At the age of 11, he began to compose music himself, started a notebook in which he wrote down all his works. The family decided that Samuil would become a lawyer, but he abandoned this career and entered the conservatory, which he successfully completed.
In 1901 Maykapar moved to the city of Tver, where he opened his own music school. Then the idea came to him to write children's works that the children themselves could perform.
A variety of small pieces by the composer for small, just beginning performers can be called miniatures. They, like photos in an album, are combined into cycles. Today we will get acquainted with one of such cycles. It is called "Biryulki".
Listen to the sound of this word. How sweet and musical it is. But what does it mean? Once upon a time, it was the favorite game of the kids. A bunch of very small toy little things - spillikins spilled out on the table. Most often, these were cups, jugs, ladles and other kitchen items carved from wood, ladders, hats, sticks and so on.The spillikins had to be taken out with a small hook, one by one, without moving the rest.
Little pieces of Maykapar remind those same spillikins from the old game. Let's get to know this music. What can be found among the spillikins of Maykapar?
First of all, these are children's musical portraits.
Here is a little shepherd. On a clear sunny day, he went out to a summer flowering meadow near the river. In order not to be bored grazing his herd, he cut off a reed for himself and made a pipe out of it. (A pipe is a small pipe). A bright, joyful tune rang over the meadows. In the middle of the play, the melody became more like a shepherd's dance, and then his pipe began to play again.
And now, listening to the next miniature, we will see little commander. He is very belligerent, courageous and courageous. With a clear voice, he energetically gives orders. We do not know to whom they are intended - tin soldiers, soft toys or friends-children. But the music convinces us that any order of such a commander will be carried out without fail.
In the next piece, the music is very sad, quiet, plaintive, Listening to it, you want to feel sorry for someone, sympathize, cry. It seems that the child complains about his difficult life, about his sad fate. Samuil Maykapar called this miniature - "Orphan"
Alan Huckleberry
IMTA Level C3
Trifles: 26 Short Pieces for Piano, Library of Russian Soviet Music, 1977
These are completely different portraits, not similar to each other, presented to us by the composer. In each of them, not an adult, but a child is guessed. And the music told us about each in its own way.
We now turn our attention to musical landscapes. What is "landscape"? These are pictures of nature: "Clouds are floating", "Spring", "Autumn", "On the skating rink". The musical landscapes of Maykapar are dedicated to the four seasons.
In "Spikers" Maykapar does not have such a play called "Summer", but at this time of the year it is easily recognizable in some miniatures. Here, for example, "In the garden." Listening to it, you vividly imagine a warm, summer day, a playground, a shady garden. Let's listen.
While playing in the garden, the children suddenly saw ... Who do you think? Could it be a butterfly or a bird?"Moth" ...So Maykapar called this work. A moth is much smaller than a butterfly, it does not have such large wings, so it is not so elegant and graceful. But it is light and fast. After listening to this work, we seemed to see how a moth flies from one flower to another.
I think that everyone saw it, how water pours into the river in a large, powerful stream. Especially in the spring. Seen? In a play"Stormy Stream" Maykapar drew this picture.
Now we have an amazing journey ahead of us. into the world of fairy tales . Fairy tales are always something mysterious, surprisingly beautiful, unusual. Sometimes we compose fairy tales ourselves, sometimes we see them in a dream. Samuil Moiseevich came up with little fairy-tale plays, such as: "Fleeting Vision", "Fairy Tale", "Legend" ...
Who among us doesn't love dancing? We like children's and youth, modern and ballroom dancing. We enjoy watching ballet, but this is also a dance. Dancing is a very exciting, enjoyable and beautiful activity. Samuil Moiseevich Maykapar wrote many dances. it polkas, gavottes, minuets, waltzes.Waltz is a ballroom dance that is over 200 years old. Word"Waltz" in translation means "circle, rotate." This dance is dominated by swirling graceful movements.
Alan Huckleberry
The University of Iowa Piano Pedagogy Video Recording Project
IMTA Level D3
Trifles: 26 Short Pieces for Piano, Library of Russian Soviet Music, 1977
Maykapar "Polka"
Use Katya, 6 years, 10 months (Reporting concert of the music school Gaza)
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 " Spillikins".
Spillikins, a cycle of plays for children, Op.28 (1900)
- 1. In the garden
- 2. Orphan
- 3. Shepherd boy
- 4. Autumn
- 5. Waltz
- 6. Anxious minute
- 7. Polka
- 8. A fleeting vision
- 9. Little Commander
- 10. Fairy tale
- 11. Minuet
- 12. Moth
- 13. Music box
- 14. March
- 15. Lullaby
- 16.Song of sailors
- 17.Legend
- 18. Prelude and fughetta
- 19. Echo in the mountains
- 20. Gavotte
- 21. Spring
- 22. Seven-league boots
- 23. At the rink (Toccatina)
- 24. Clouds are floating
- 25.Romance
- 26. Horseman in the forest (Ballad)
Performs Anna Wang (14 year old)Anna Wang, 14 years old(Recorded on May 9, 2010 in Vancouver, BC, Canada)
And now I offer you, my dear readers, the children's cycle "Spikers" by S. Maykapar in the form of a fairy tale
(based on the fairy tale by G. Kamennaya)
One day, while cleaning up the attic, Natasha's mother found an old doll with a peeling nose in a dusty dress. She didn't have shoes on her feet. Natasha glued chestnut pigtails on the doll, sewed a new cotton dress and small oilcloth shoes. But, although now she had shoes on her feet, the doll was called Barefoot. This is the first time the girl saw her. Natasha loved the sandal very much. Every morning she took her out for a walk in the garden. Puppy Sharik always played with them. And what games they did not play!
And in the evening, tired of the games, the doll helplessly lowered her rag hands, bowed her head on Natasha's shoulder. Then the girl laid the Sandal in a wooden bed, covered it with a blanket, sang a lullaby
Barefoot liked this life. But one day, for her birthday, dad gave Natasha a new doll. She was so beautiful! In a pink transparent dress with lush frills, patent leather shoes with buckles on her feet, and on her head a hat with ribbons like a water lily flower. The beautiful doll was named Lyalya. She sat on the sofa, among the embroidered pillows, and did not talk to anyone. Of course, the doll was very imaginative. When the other toys began to play, she arrogantly declared: "Quiet, I have a headache!". The toys were offended and stopped paying attention to the asshole.
But Natasha Lyalya really liked it. In the morning she took the elegant doll in her arms, gently pressed it to her and circled around the room with her.
And the more affectionate Natasha was with Lyalya, the sadder and sadder Sandal became. She did not have such a beautiful dress, hat, and she could not open and close her eyes. The sandal was crying more and more often, hiding in a corner. “What are you whining about,” Lyalya once told her. If I were you, I would have left here long ago. Out of resentment, Barefoot cried even harder and decided to go far into the forest and stay there. She said nothing to anyone, jumped out of the window and ran farther and farther from her house. The forest was dark and scary.
When the dawn was already reddening over the trees, Barefoot went out to the edge of the forest. She looked around and saw the master Silkworm on the branch, and on the trunk of the tree - a fluffy Squirrel with a nut in tenacious paws. The sandal shared her grief with the forest dwellers. The animals conferred and decided to help the doll - to make her as beautiful as Lyalya. The silkworm sewed her a beautiful dress, and Squirrel gave her two nutshells instead of shoes. Heron also brought a gift - it was a lily hat. Sandals' dream came true: she became as elegant as the Lyalya doll. The little animals frolicked around the doll, calling her to play, but she was afraid to get her dress dirty. And the animals ran away.
Everyone in the forest was busy with their work. The silkworm wound its cocoons into a thread. The squirrel was storing nuts for the winter. The barefoot was sad. She did not know what to do, but she was not used to idleness. She remembered the house, Natasha, toys. “I didn’t imagine that I would be so sad without you,” thought Barefoot. Why do I need such a beautiful dress if Natasha doesn’t see it? I’m an ungrateful doll. forest". The sandal rushed straight through the thorny bushes. The grass grew thicker and taller. Suddenly the wind blew, lightning flashed, large drops of rain fell on the leaves. All the little animals hid in their burrows, and Barefoot was left alone.
And the rain kept pouring and pouring. A lily hat caught on a branch, the wind tore off the dress, streams of water washed away the shoes from the feet. Spattered with mud, shivering from the cold, Sandal finally saw the familiar roof. But in front of the house, she slipped and fell. She woke up from the loud barking of Sharik. It was he, her faithful comrade, who, all day, when the loss was discovered, could not find a place for himself and went on a search. Sharik joyfully licked Sandals on the cheek and brought her home. Natasha was very happy. Even Lyalya smiled at Sandals. And how happy all the other toys! The doll was cleaned, dressed in a washed cotton dress. And in the evening all the toys arranged a real ball in honor of Barefoot, and Natasha danced with her, as before.
The sandal was happy again. Only now did she fully understand that friends are more precious than brilliant outfits.
.Target: Introducing children to the creative heritage of the composer S.M. Maykapara.
Tasks:
- To teach children to distinguish between the figurativeness of music, the means of musical expression, the form of musical works.
- Develop a sense of rhythm, the ability to convey the character of music through movement.
- Cultivate emotional responsiveness, love for music.
Hall decoration : Portrait of S.M. Maikapara, music box, children's small toys, a book of fairy tales, photographs of the St. Petersburg Conservatory.
Event progress
“Waltz” by S. Maykapar sounds softly. Children enter the hall, sit down.
Musical director: Hello dear listeners! Today we have gathered with you in the music room to hear music dedicated to you - the children. It was written by the composer Samuil Moiseevich Maykapar.
(Showing a portrait. Figure 1.)
Picture 1
Samuil 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 from the age of nine Maykapar took part in concerts.
When he grew up, he went to study at the St. Petersburg Conservatory. (Figure 2. Figure 3.) He began to write, compose music, including music for children. His children's piano cycle "Spillikins" is very famous. Listen to the very sound of this word - it is affectionate, gentle, musical. A long time ago, Spillikins was the favorite game of the kids. Very small things spilled out on the table: 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.
Figure 2
Figure 3
The game "Spikins" in the modern version
Musical director: Little pieces of Maykapar remind those same spillikins from the old game. Listen to one of them "Shepherd Boy"
(Execution.)
The shepherd is a little boy who, on a bright, sunny day, went out to 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 orchestrate this piece: when the music sounds light, joyful, ringing 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 Boy"
Samuil Maykapar also wrote music dedicated to nature and the seasons. You all know very well what a “landscape” is. (Children's answers) Now the play “Spring” will sound for you. 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.
Listening to the play "Spring"
Or maybe one of you knows a poem about spring and will read it to us?
Reading a poem about spring.
Musical director: Guys, do you like puzzles? (Children's answers.) 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)
Samuil Maykapar has a play with the same name "Dewdrops". Let's try to convey the lightness and transparency of these small droplets-beads in motion.
Musical-rhythmic exercise "Easy running" to the music of S. Maykapar "Dewdrops"
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 "Music Box"
What can you say about this music? (Children's answers.) She seems to be 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 different miracles and magic. Here, for example, "Seven-league boots". How does the composer portray them? These are big jumps of individual accented sounds, measured and heavy, like the giant steps of a giant overcoming great distances.
Listening to the play "Seven-League Boots"
The composer called the next piece "Fairy Tale". Do you have your favorite fairy tales? (Children's answers.) Yes, fairy tales are different. Listen to "The Story". What words can describe the music played? (Children's answers.) 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? (Children's answers.)
Project portfolio |
|
Name of institution | MBOU DOD "Children's School of Arts in Naryan-Mar", 166000, NAO, Naryan-Mar, st. Vyucheisky, |
Head of institution | |
Project type and name | creative project "Samuil Moiseevich Maikapar. Children's music» |
Subject area | Collective, creative |
Project leaders | Piano teachers: |
Nature of contacts Number of participants | Teachers: , (coordinators, organizers of the project). Members: piano students and teachers |
Main goals of the project | |
Main tasks of the project | educational: - the acquisition by students of the experience of creative activity and public speaking, the ability to perform musical Works at a sufficient artistic level - in accordance with stylistic features; · - to deepen knowledge about the work of the composer S. Maykapar; · developing: - development of artistry and musicality; - expanding the musical horizons of students by familiarizing themselves with the works of the composer; - development of emotionality, memory, thinking, imagination and creative activity; educational: - education of personal qualities (industriousness, the need for independent work); - education of the need to obtain versatile knowledge, to attend cultural events, concerts, theaters); practical: Selection of musical, literary, artistic material for a talk-concert dedicated to the 150th anniversary of the birth Preparing for interviews. socially significant: Love for music; |
Project implementation timeline | Long-term, academic year 2016 - 2017 |
Place project implementation | GBU DO NAO "Children's School of Arts in Naryan-Mar" |
Expected results of the project implementation | 1. For participants: Education of competent music lovers, expansion of their horizons, formation of creative abilities, musical and artistic taste. Implementation of the possibility of public presentation of their musical abilities; Development of performing skills. Holding an open event dedicated to 150th anniversary of the birth of S. M. in April 2017 2. For listeners: Obtained, expanded knowledge about the composer S. Maykapar, his work Increased interest in classical music in general; Maintaining interest in learning at a children's music school; Formation of a respectful attitude towards performers - students of the school |
Reflection of activity |
In modern conditions, the issue of educating the artistic culture of children is quite acute. Music is one of the most accessible spheres that allows you to broaden your horizons, raise your cultural level, and educate a moral personality. Music accompanies children everywhere. They hear it in kindergarten, school, institutions of additional education for children. She surrounds children at home and on the street. However, the music is different. Widespread modern music often does not carry an aesthetic and semantic load, so it is necessary to familiarize children with the traditions of classical musical education. Children should get acquainted with the most striking examples of classical music. Knowledge of the biography of outstanding composers, their work contributes to both the development of motivation and the expansion of one's horizons. In the process of listening to classical compositions, studying the main musical genres, musical expressions and getting to know the lives of great musicians, an increase in interest in subsequent education is more than likely.
playing instruments and playing classical music.
The concert activity of students gives them the opportunity to show their temperament, imagination, develop skills in mastering the colors of sound, and allows them to feel like a real artist at the instrument.
Project relevance: Active involvement of students in organizing systematic and systematic musical educational work, in mastering new material, using their observations and knowledge independently acquired in versatile communication with music.
It is also relevant to study the creative heritage of the composer among whose piano legacy there are many pieces published for the first time relatively recently and not yet included in wide pianistic use.
Target:
Introducing children to the creative heritage of the composer.
In this regard, we have set ourselves the following tasks:
Educational:
The acquisition by students of the experience of creative activity and public speaking, the ability to perform musical works at a sufficient artistic level - in accordance with style features;
Deepen knowledge about the work of the composer S. Maykapar;
Developing;
Development of artistry and musicality;
Expanding the musical horizons of students by familiarizing themselves with the works of the composer;
Development of emotionality, memory, thinking, imagination and creative activity;
Popularization of music for children S. Maikapara;
educators:
Education of personal qualities (industriousness, the need for independent work);
Raising the need to obtain versatile knowledge, to attend cultural events, concerts, theaters);
Raising in students a sense of respect, interest in the rich cultural heritage of Russia.
Practical:
Selection of musical, literary, artistic material for a talk-concert dedicated to the 150th anniversary of the birth;
Preparing for a talk-concert.
Socially significant:
Formation of musical taste;
Love for music;
The desire to listen and perform it.
Stages of project implementation
The work on the project includes the joint activities of teachers and students and is distributed in stages as follows:
Project stages | Activities of teachers | Student activities |
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(prepare- | 1. Formulate the problem (goal) - when setting the goal, the product of the project is also determined; 2. Enter into the plot situation; 3. Formulate a task | 1. Entry into the problem; 2. Getting used to the plot situation; 3. Acceptance of the task; 4. Addition of project tasks. |
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(basic) | 4. Help in solving problems; 5. Help to plan activities; 6. Organize activities 7. Provide practical assistance in the selection of material, prepare concert numbers; | 5. Work on concert and lecture material; 6. Formation of specific knowledge, skills; 7. Coordination of work with all project participants. |
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(final) | Prepare and conduct a talk-concert dedicated to the 150th anniversary of the birth; | Present the product of the activity to the audience. |
Development of the project. |
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(prepare- | September 2016 | 1. Tasks of teachers - creation of conditions, definition of the purpose and objectives of the project; 2. distribution of musical numbers between the participants of the conversation - the concert; 3. Determining the timing of the project. |
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(basic) | 1. Work on concert and lecture material, the formation of specific knowledge, skills: a) the development of musical material by students, b) collection and systematization of information for the lecture component of the project, c) selection of illustrations of paintings for figurative perception of the musical image. e) work on the presentation 2. Conducting rehearsal events. |
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Stage 3 (final) | April 2017 | Conducting a conversation - a concert dedicated to the 150th anniversary of the birth; Evaluation of the degree of achievement of the set goals. Evaluation of the quality of the result. |
Forms of activity
1.Individual work. Formation of participants' motivation.
2. Independent work. The development of students' skills to work meaningfully and independently at home, observing the sequence and progress of this work built in the lesson together with the teacher.
3. Teamwork. Determining the theme of the project, its goals and objectives, searching for the information necessary to start designing, developing a plan for implementing the idea. Making a script for a conversation - a concert.
4. Conducting a talk-concert.
Project implementation form
Thematic conversation - a concert for students and parents of children's art school.
The script of the conversation - concert
"Samuil Moiseevich Maikapar.
Children's music.
Slide #1
Good afternoon, dear children, dear adults!
Today we have gathered in our hall to get acquainted with the work of the composer, who this year celebrates his 150th birthday. (1867-1938).
Many composers write music that both adults and children listen to with the same enthusiasm. But there are composers who devoted all their work to creating only children's music, and one that children could not only listen to, but also perform themselves. The name of this composer is Samuil Moiseevich Maykapar.
Widely known in Russia and abroad is his name, composer, author of numerous works for children and youth. Thanks to their artistic merit, understanding of child psychology and taking into account the peculiarities of the children's playing apparatus, S. Maykapar's pieces have firmly entered the repertoire of young pianists. Children like these bright, imaginative and at the same time simple in texture works, and it would not be an exaggeration to say that there is not a single young musician who has not played or heard some play by Samuil Moiseevich Maykapar performed by his comrades.
And today we will start our concert with a performance Bondareva Nastya and with a play from the collection "First Steps", which is addressed, as its name implies, to the youngest children who are just starting their journey in music. S. Maykapar believed that playing in an ensemble unusually develops the musical abilities of children and wrote a cycle of 16 ensemble pieces for children of preschool and primary school age.
Despite the fact that the name of Samuil Moiseevich Maykapar is widely known, few people know about his life. He was born in Kherson in 1867. Samuel inherited his musical abilities from his mother, who played the piano very well. Shortly after his birth, the family of Samuil Maykapar moved from Kherson to Taganrog. Here he entered the Taganrog gymnasium. He began to study music at the age of 6 (lessons from
G. Molla). At the age of 11, he began to compose music himself, started a notebook in which he wrote down all his works. 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). The family decided that Samuel would become a lawyer, but he refused this career. At the age of 34, Maykapar moved to the city of Tver, where he opened his own music school.
Slide #2
Then the idea came to him to write children's works that the children themselves could perform. This is how the cycles of piano pieces, which later became classics, were written, “Little Novellettes” op.8, “Shepherd's Suite” op.15, “Puppet Theater” op.21, “Miniatures” op.33 and the cycle “Spill-spills” that received world recognition op.28.
Now several plays from this collection will be performed. (Spikers Sat)
Slide #3
Spillikins - listen to the sound of this word. How sweet and musical it is. But what does it mean? Once upon a time, this was the favorite game of the kids.
Slide #4
A bunch of very small toy little things spilled out on the table. Most often, these were cups, water lilies, ladles and other kitchen items carved from wood. The spillikins had to be taken out with a small hook, one by one, without moving the rest. Little pieces of Maykapar remind those same spillikins from the old game. Let's get to know this music. What can be found among the spillikins of Maykapar? First of all, these are children's musical portraits.
Slide #5
Here is a little shepherd. On a clear sunny day, he went out to a summer flowering meadow near the river. So that it would not be boring to pasture his flock, he cut himself a reed and made a flute out of it. A bright, joyful tune rang over the meadows. In the middle of the piece, the melody is more like a shepherd's dance.
Now you will hear "Romance", which is also included in the collection "Spikers".
Very expressive and deep in content miniature . There are different sentiments here. The very song melody of the romance is thoughtful, dreamy, sad. It sounds slower than the introduction, and ends in each phrase with upward interrogative intonations. The accompaniment is reminiscent of the sound of a guitar.
"Romance" Spanish. 6th grade student Kolya Odegov
Waltz is one of the most romantic and beloved dances, uniting generations and plunging us into a state of some euphoria. The word "waltz" means "rotational" and, indeed, swirling graceful movements predominate in the dance. The waltz genre is loved by many composers. S. Maykapar was no exception.
Today we will listen to two waltzes.
Slide #11
Graceful phrasing, the accompaniment is very soft and light. As if the fairy tale characters Cinderella and the Prince are dancing.
Evening would soon come
And the long-awaited hour has come,
So that I in a gilded carriage
Go to a fabulous ball.
No one in the palace will know
Where and what is my name
But as soon as midnight comes,
I will return to my home.
"Waltz" Spanish. 2nd grade student Anya Syropyatova
Slide #12
"Waltz" - gentle, touchingly graceful. Imagine a picture of a ball, a Christmas tree, a holiday.
Snowflake Waltz - New Year's Eve ...
Moon in the cradle of clouds.
This evening is waiting for a meeting,
Days of happy, joyful hours.
Spanish 6th grade student Liza Korepanova
slide number 13
And now we're going to another time of the year.
I think that everyone saw how in spring the water of streams pours into the river in a large, powerful stream. Seen? How do you think it can be portrayed in music? What should be the music? Let's listen to how Samuil Maykapar portrayed it. "Stormy Stream" is a play of etude character. The texture of the piece, distributed between the two hands, allows you to achieve a rapid pace and bright dynamics, which depicts the power of rushing water with sounds.
"Stormy Stream" Lodilova Sonya
Let us turn to another cycle of pieces "Twenty Pedal Preludes".
The preludes were composed in 1937, already towards the end of his life. The author himself did not have time to publish them.
These preludes are devoted to the development of the skill of artistic pedalization of students. At the heart of these pieces is not only the task of mastering the skills of using the pedals in various cases, but also the education of the student in the appropriate auditory control.
"Twenty Pedal Preludes" are light piano pieces.
Slide #14
For a long time the spring passed secretly
From winds and cold,
And today straight
Slaps through the puddles
Drives melted snow
With hubbub and ringing to pave the meadows
Velvet green.
"Prelude" No. 19,f- mall , Spanish 4th grade student Poloskova Natasha.
Slide #15
Forest, like a painted tower,
Purple, gold, crimson,
Cheerful, colorful wall
It stands over a bright meadow.
Birches with yellow carving
Shine in blue azure,
Like towers, Christmas trees darken,
And between the maples they turn blue
Here and there in the foliage through
Clearances in the sky, that windows.
Ivan Bunin
"Prelude" No. 2,e- mall, Spanish 6th grade student Yana Filippova
During the founding years of the music school in Tver, Maykapar wrote the sweet and graceful Eighteen Little Novelettes for Piano.
Among the piano heritage of Maykapar there are also quite a few pieces published for the first time relatively recently and not yet included in wide pianistic use. These, in particular, include his "Little Novels" (light pieces for piano), which were published a hundred years after they were written. Some of the composer's works are still kept in the archive.
novelletta(Italian - a short story, a diminutive of novella - a story, short story) - a short instrumental play of a narrative nature. The name "Novelette" was first used by Robert Schumann. Although Schumann pointed out the features of the narrative in his Novellettes, he derived the very name "Novellet" not from the short story, but from the name of the famous English singer Clara Novello.
slide number 17
Sounds a play from the cycle "Little Novels" "In the forge"
I am a cheerful blacksmith
I don't know about rest.
heavy hammer
I strike sparks.
Boom Boom Boom!
Boom Boom Boom!
I have horseshoes.
Boom Boom Boom!
Boom Boom Boom!
Bring your horse
"In the forge" Spanish. Miroshnichenko Dasha, 4th grade student.
Slide #18
Toccata(from the Italian word toccare - to touch, push) - in ancient music, a piece assigned to keyboard instruments (mainly organ). A characteristic feature of the toccata is that a well-known technical figure is constantly carried out in the piece, now in the left, then in the right hand.
Translated from Italian, the word "toccata" means "touch", "hit". The original toccata for keyboards was composed
as an introduction (prelude) to a choral work, and then it becomes an independent concert genre of secular music.
Tocattina is a small toccata.
"Toccatina" Spanish. Makhneva Marina, 4th grade student.
Slide #19
The composer's musical heritage includes works of various forms. These are polyphonic pieces and works of large form. These include the variations that we will hear today.
Variations in music (from lat. vanatio - change) - a musical form, the essence of which is in the changing repetitions of the theme. In instrumental music, the theme of the Variations is usually a monophonic song melody or a short piece. Variations are one of the oldest musical forms that exist in the folklore of all peoples.
Following one after another, V. form a cycle, which can be an independent work or part of a multi-part composition (sonatas, symphonies, etc.).
"Variations on a Russian Folk Song" Ladilova Sonya
haykapar wrote more than 200 plays for children and youth. Most of them are included in the repertoire of beginning pianists. These works are written at an accessible for young performers and at the same time at a high artistic and musical level.
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."
I think these wonderful words can be attributed to the personality and his work.
We want to end our meeting today with a play "Children's dance" in Spanish, Uliana Zobnina, 4th grade student.
Unfathomable beauty!
The soul sings and breaks.
And the wondrous breadth of sounds
Merge with the movement!
There is a celebration again on the stage:
Our children are dancing.
There is witchcraft in the dance pattern!
Forget everything in the world!
Thank you for your attention. See you again.
