Children's composer with MaikaPar Biography. Samuel Moiseevich Mikepar: Biography
Mike Par Samuel Moiseevich (1867 - 1938). The name of the composer Samuel Moiseyevich Maikapara, the author of numerous works for children and young people is used to be widely fame in Russia and abroad. Thanks to the artistic advantages, an understanding of children's psychology and taking into account the characteristics of the children's gaming apparatus, the play of Maikapara firmly entered the repertoire of young pianists. Children like these brightly shaped and at the same time simple on the texture of the work, and there will be no exaggeration to say that there is not a single young musician who has not played or who did not hear in the fulfillment of the comrades of Maikapara.
Even in the pre-revolutionary years, Mayka Par began to compose music for children and was the first of the older generation of composers who fully devoted their creative activities to the creation of children's and youthful musical literature. This helped him not only the composer talent, but also the performing and pedagogical experience, connected to a thoughtful approach of the musician-methodologist and a scientist. Currently, the writings of Maikapara for children are a kind of children's musical "classic".
Nevertheless, the diverse musical activity of Maikapara for many remains unknown. In the book "Years of Teachings" he managed to tell only about the initial period of his musical life. The proposed story about the "years of activity" remained only a project. Many Maikapara methodical works are not published.
Samuel Moiseevich Maykapara was born on December 6 (December 18 for a new style) 1867 in the city of Kherson. Children's and youthful years are associated with the seaside southern city - Taganrog.
A noticeable place in the cultural life of the city was occupied by homemade. Just as Muzitsy in the Czech family, a lot of time was given to music and the Maikapara family. Well played on the piano Mother Samuel Moiseevich, who studied in youth in Odessa, like her brother, a violinist lover; He played on the piano three sisters, the fourth studied the game on the violin.
Taganrog was considered a musical city. Since the music school in Taganrog was opened only in 1885, until this time, it was possible to learn music from private teachers, among whom they met and not too musical competent people. Education of children to the game on some musical instrument was almost mandatory in each intelligent Taganrog family. Maikapara's father was a fairly wealthy man to give children not only average, but also higher education.
On the years of exercise in the gymnasium MaikaPar mentions only casual. He began to study in the same gymnasium, which eight years earlier graduated from the great Russian writer A.P. Chekhov. In 1885, Maikapar graduated from a gymnasium with a silver medal.
Already at this time, his genuine passion and purpose of life became music. Pretty early Maykapara decided to become a musician. And in this regard, his parents played a positive role and, of course, his first music teacher, Italian Gaetano Molla. Mikepar has characterized him as a talented, temperamental and hardworking musician who learned him to understand and love music.
Maykapara was seven years old when he began learning the game on the piano. He inherited musical abilities from the mother, and the love of music - from his father, who, although he did not play any musical instruments, but he was always ready to listen to music and deeply felt it. Systematic classes in the piano, the game in the ensemble, visiting chamber and other concerts brought up the taste of Maikapara, acquainted with musical literature. By fifteen years, he already knew the basic works of symphonic and chamber music, playing many symphony and quartets with her sister in four hands. He played almost all the Beethoven Sonatas and read quite a leaf. At this time, Maikapar was considered the best accompanist in Taganrog and spoke not only with local amateurs, but also with the visitors of professional musicians.
Not changed Mikepar of his enthusiastic attitude to Molla, even when I realized its shortcomings - was adopted on the junior course conditionally, for one year, since his technical preparation left much to be desired.
To get the Higher Education, Mikepar went to St. Petersburg, where the conservatory was the oldest in the country, which used a huge authority thanks to the activities of its founder A. Rubinstein and taught the largest musicians in it. To continue the general education, he intended to go to the university.
Maykapara, as an overcoming gymnasium with a medal, the university's receipt was provided. He chose the Faculty of Law, as not demanding from students a lot of time spent on systematic classes. The time was Maikapara, since in the case of admission to a conservatory, playing the game on the piano was needed daily and rejug. Mikepar was adopted for the junior course conditionally, for one year, since his technical preparation left much to be desired.
Mayka Par entered the class of senior teacher V. Demyansky, who in two years I was straightened by the defects of the hands of his hands, taught to work carefully on the musical work, significantly moved the technique. Demyansky found his mission performed. MaikaPar later wrote: "Thanks to the careful sensible leadership of the Demyansky, I safely passed the most critical, first period of my teaching in the conservatory, and the question, if I could, in so many years, remaining without the right technical school, to acquire the founders of good piano technology in the future, resolved in a positive sense. " Successfully handed over the technical exam for the transition to the Senior Course of the Conservatory, Maykapaar went to the class of the Italian pianist of Veniamin Kezei, just invited by the professor in the St. Petersburg conservatory.
For four years, Mikepar was engaged in Ceza, with the help of which he managed to thoroughly familiarize himself with the piano music of Baha, Handel and other ancient masters. Having worked at the conservatory for four years, the needs were seriously ill and went to his homeland in Italy.
Next, Maykapaar continued his studies at the young Hungarian pianist Joseph Weis, the student of the sheet. Weiss teaching was distinguished by rawness and lack of any system. Mikepar was more listed by his student than he was doing with him. To the final exam, MaikaPar was preparing independently, as he would have sick shortly before the exam. He played the program well and was appointed to speak at a conservative act, which the best of those who graduated.
When Mike Par passed the last of the auxiliary musical and theoretical objects, A. Rubinstein was present on the exam; After reading the experience of Maikapara in writing music, he advised him to start learning the theory of the composition. So, Maikapar found himself in the class of Professor N. Solovyov, coming to the end of the conservatory not only as a pianist, but also as a composer.
The years carried out by Maykapar in the Conservatory turned out to be significant for him, thanks to the surroundings in which he was located. While at the post of director of the Conservatory, A. Rubinstein took to heart not only the interests of the institution, but also the fate of each student. Forever I remembered Mikepar bright performances of Rubinstein on the stage.
The University of Maykapara graduated two years earlier than the conservatory. He tried to engage in a short time to engage in advocate, but soon he was convinced that it was impossible to combine music classes with jurisprudence. But, engaged in the university, MaikaPar acquired the famous latitude of views, disciplined his thinking, learned to argue and clearly express his thoughts. This allowed him to subsequently go beyond a narrow musical specialization and become an outstanding scientist in the field of music.
Not satisfied with the achieved and critically related to their pianistic achievements, Maykapaar went to Vienna, where he studied at the famous teacher of Theodore Leshetitsky. Maikapara sets out in detail in the book "Years of Teaching" the course of his classes with Leshetitsky. Finishing the story, he writes: "As a result of my work under the guidance of Leshetitsky, I consider the most valuable result that I have discovered thanks to him the conscious ways of technical and artistic improvement throughout the future of my life ... Another, very important result of my lessons with Leshetitsky is a great interest in methods Works, to finding ways to master the technical difficulties and achieve the artistic completeness of execution, without excessive labor and forces. "
Maykapara was inherent in the perseverance, causing him, holding a job, to delve into the slightest details until the question was fully studied. Such exceptional integrity was manifested by Maykapar in all areas. If it concerned performers and, it was about concert speeches, he pondered not only the program, the sequence of performing plays, but took into account the moments of each pause between them and the duration of the intermission; In the performing and pedagogical work, we are found literally with the jewelry decoration of works; When editions of works - with careful designation of the slightest parts; Preparing books and reports, he conscientiously studied the auxiliary material, literature, attracted a wide variety of sources, which, in his opinion, could help the essence of the essence of the matter. And so always and in everything. A. Rubinstein, who heard Maikapara repeatedly at the student concerts, turned with a proposal: "It's enough for you to learn! You are already a ready-made pianist. Let's concerts, and the stage will teach you what is not able to teach any professor in the world." However, only seven years after this conversation, Maykapara decided to speak with an independent concert, which he gave in Berlin immediately after graduation with Leshetitsky. The concert program included plays traveled with Leshetitsky.
Two weeks later, the second concert of Maikapara took place in Berlin, who passed with solid success, but with the most modest assessment of criticism, as Maykapara refused to give a review a certain MZD for a favorable review of the journal.
In 1898, Mikepar returned to Russia and settled in Moscow. He seeks to act as often as possible in concerts. With great care, MaikaPar is preparing for performances, thinking about concert programs, regardless of whether it is a keyword, speaking in the ensemble (with a violinist press, pianist Ganeshina), or in a charitable concert. It includes its own works with great caution and in minimal quantity.
Russian press, unlike overseas, reacted to Maykapara sympathy. This is what it was written, for example, about his first concert in Moscow: "... a pre-minor fugue Baha, La Minor Sonata Schubert, a few small things Gring, Chopin, Shumanan, Leshetitsky (one of the teachers of the pianist) and Tchaikovsky gave a pianist the opportunity to introduce audience with his cute gift. He plays without any tricks, deliberate effects, simply, musically, modestly and intelligent. He, perhaps, for the artistic completeness, not in all the temperament is not enough, and this is one of the reasons why we do not hear from him, So to speak, the tops, the end items of the fondant artist, exciting and also fascinating. Let it be so, and in our time and the integrity of thinking, and to reduce to express everything in your understandable language should use genuine attention ... "(" Russian music newspaper ", 1900, № 15 -sixteen).
Mayka Par for the first time in the methodical literature raised the question of the need to develop inner hearing for musicians and specifically pointed out the possibility of its development. An active participation is taken by Mayka Par in the "Scientific Music Circuit" in Moscow in 1902, supervised by S. Taneyev, and later Professor Physiology A. Samoilov. Members of the circle were prominent Moscow musicians and scientists who were interested in music. The secretary of the circle and the organizer of all reports was MaikaPar.
At the meeting, Martha Martha had to come from Tver, where in 1901 he opened his own musical school. She existed for three years. For such a short time, naturally, MaikaPar could not see the essential results of his pedagogical work, however, classes with children led Maikapara to the thoughts on the creation of children's piano pies "Miniatures" and "Three Preludes" for the piano, which found a favorable response in the press.
The difficulty of leading in Russia scientific work in the field of music was one of the reasons who prompted Maikapara to go abroad. Berlin at that time was the center that attracted the largest musicians in Europe. In Berlin, a key concert life is key; Symphonic and solo concerts were arranged daily in several halls. Mikepar went to Berlin, not exciting illusions. Arriving there, he again spoke with a concert in the Behstein Hall, and then began to give concerts in other cities of Germany.
MaikaPar chose the main place of his residence, and Leipzig, who represented interest to him as a center of scientific musical thought for him. Living in these two cities, Maikapar attended concerts, studied literature, got acquainted with composers, musicians and performers. His own concert speeches were held in small halls. A great success fell on his speech with his wife, Sofia (Sultane) Maikapar. Her colorful soprano caused large praise.
Maykapara wonders the creation of a training manual, in which, on the basis of scientific data, would be highlighted by the most important questions of teaching the game on the piano. As if into the continuation of the published book about a musical hearing, individual parts were to wear headlines: "Rhythm", "Technique", "reading from sheet", "Pedalization", "Public execution", etc. This work was Maikapar started, lasted for many years, much has already been done, but finally not completed. The task was too difficult to solve one person, taking into account the exceptional conscientiousness of the author.
Living abroad, Mayka Par 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, they received the following letter from the director of the St. Petersburg Conservatory A. Glazunov:
"Multivated Semyon Moiseevich (glazing mistaken Maikapara Semen, and not Samuel Moiseevich. - R.A.). I bring to your attention that at a meeting of the artistic council, held on September 18, I offered you to candidates for piano teachers as the lowest, so And the highest course. The Council empowered me to notify you. Elections should take place in the very near future and about the result of elections, which, I hope, will be favorable, I will notify you with a telegram. With sincere respect and devotion of A. Glazunov. "
The prospect of conducting pedagogical work at the conservatory, where he himself studied, seemed to the Maykapara seductive. Petersburg Conservatory enjoyed a reputation as one of the best musical educational institutions in the world. For the pedagogical work of Maikapara, the situation in the conservatory was very favorable. The piano department of the Conservatory was headed by A. Esipova, a student of Leshetitsky, who used continuously authority due to its artistic and pedagogical glory; In addition to Esipova among professors of the Conservatory there were other students of Leshetitsky - K. Fan-Ark, who was deceased in 1909, M. Benza Efron.
When the conservatory had a question about the invitation of a new teacher in the class of piano, then the candidacy of Maikapara did not cause any objections. He was a pupil of the St. Petersburg Conservatory, belonged to the School of Leshetitsky, concerted and led the pedagogical work abroad. In addition, he had another university education, which is not so often found among professionals' musicians. The famous meaning was that he at one time graduated from a conservatory in two specialties and in the present was already a name as a composer and the author of a valuable musical and theoretical book about a musical hearing.
Soon, Maykapar was received by the telegram, which was noticeable about the favorable outcome of the balloting in the art council of the conservatory. From the fall, he has already begun to classes. Starting the work as a teacher, he was approved by the senior teacher in 1915, and in 1915 a professor in a class of special piano.
Almost twenty years later Mikepar Pedagogical work in the St. Petersburg - Leningrad Conservatory, simultaneously performed in concerts, composed music and engaged in scientific work. His concert speeches preferably in the male hall of the conservatory attracted the culture of execution. Mikepar belonged to the number of "smart" performers who had a rational beginning prevail over emotionality. "... Mr. Makapaar is not only a pianist, but also, which is particularly gratifying to emphasize, is a thoughtful musician, and this quality is rarely found from modern concert performers," it was noted in one of the reviews of his concerts. The most significant performing achievement of Maikapara was the cycle of seven concerts in 1925, in which he performed all the piano Sonatas Beethoven. The execution, which Mikepar always loved, remained for him the basis of all other activities - compositions, pedagogy, scientific work.
From among the writings of Maikapara, created in pre-revolutionary time, piano miniatures are of great interest: "12 album sheets", "Puppet Theater" from seven rooms. However, the genuine Triumpham of Maikapara as a composer for children are "Biryulki" - a cycle of plays, created after the revolution.
During work in the Leningrad Conservatory, Maikapar was released over forty pianists. In his own pedagogical work, Maikapar was a follower of Leshetitsky school. Mike Par, however, did not remain a imitator of the techniques of his teacher. Mike Par All life was a teacher looking for a teacher.
In an effort to new achievements, Maikapar always appealed to science. Acoustics, physiology, psychology and other sciences that attracted them to substantiate certain provisions of musical practice, could not always answer the requirements for them, and the deepening of scientific issues for Maikapara often had only a principled meaning.
As a scientist and public figure especially actively showed himself to Maykapara in the twenties. Maykapara took part in reforming the conservatory curricula, participated in the work of various commissions. He performs with methodological reports at the meetings of the Piano Faculty. His work appears "Scientific Organization of Labor Applied to the Work of the Artist's Musician," studies the system of work of the largest Western pianist performers: Egon Petri, Arthur Snabel, Ignats Friedman. In 1927, the book of Maikapara "The meaning of the creativity of Beethoven for our modernity", with a large preface A.V. Lunacharsky. In this book, which was created on the basis of an in-depth study of the creativity of the Great Composer, as well as in the report reading at the Conservatory at a ceremonial meeting in memory of the 100th anniversary of Beethoven's death, Mayka Par argued the thesis: "The Great Heritage, left by Mankind Beethoven, a hundred years after His death retains his entire strength and all its cultural significance, quite responsible for the requests of our modernity, but we ourselves are far from the full detection and use of its cultural value. "
During these years, a difficult situation arose in the conservatory, in connection with the struggle of various schools and directions inside the piano faculty. All this demanded that Maikapara voltage forces. He began to hurt. By bringing the last students to release, Maykapara in 1929 left a job in the conservatory. The preserved forces he gave to musical creativity and literary works. During the rapma, when the administrative activity of this organization has spread to almost all the musical institutions, the writings of Maikapara or rejected by the editors of the Mugis, or their printing was delayed. Unsuccessful attempts by the composer to change the current situation forced him to engage in propaganda of his writings by author's concerts in music schools, piano palaces and other institutions of Leningrad and Kiev. Only in 1932, after the elimination of rapma, the writings of Maikapara again begin to leave the print, but also in an amount far from satisfying the demand for them.
Care from the Maikapar Conservatory experienced very hard. He was still full of creative designs, wanted to speak, conduct pedagogical work. These experiences were gained bitterness of loss in early 30s by hotly beloved eight-year-old hopes - daughters from the second marriage of Maikapara with a violinist Elizabeth Aronovna Teshesh, who received education in the conservatory.
In 1934, a competition of young testers was organized in Leningrad, in which the children-musicians aged from seven to sixteen were participating. Maykapara was as part of the jury of the competition. More than half of the speakers played his piano plays. In Decree of Lensovet dated April 17, 1934, it was indicated: "Mark great work on the view and promotion of the artistic education of children in connection with the tender of young talent, having a huge cultural importance, and approve the decision of the Competition Committee on the Awards of Maikapara S.M..
In the last years of life, Maykapara is especially working a lot on issues of the theory of execution. They were almost completed by the work "Creativity and the work of the music performer according to the experience of experience and in the light of science." Maikapara's work remained in the manuscript, but his thoughts on the technique of work on the musical work was reflected in the lectures he spent in the spring of 1935 in the House of Artistic Education of Children in Leningrad. Lectures were called "how to work on the piano" and were intended for school-age children. The preserved summary of the lecture gives an idea not only about their content, but also about the form in which Mictar Paripapar has enough special information. This work of Maikapara, with all its brevity, may be unspecified for teachers' musicians as an example of how the language can be understood for students to give the necessary information about the analysis of the musical work and its further learning due to the characteristics of the invoice.
In the same 1935, Maikapar writes an article "Children's instrumental ensemble and its meaning in the system of musical education."
One of the main obstacles to the introduction of an ensemble in classes with children in those years was the absence of the necessary simplest literature. With the same sequence, with what compiled Mike Par loops, "miniatures", etc.), he writes four-fold plays ("First Steps"), Pieces for Violin and Piano (Sonata "rich" "," Songs of the Day and Nights "), for trio and other types of instrumental ensemble.
In recent years of life, in addition to the writing of the plays for the instrumental ensemble and the unexproeded cycle of light preludes and fugues for the piano, Maikapaar continued to pay a lot of attention to methodical work. All his life, by spending behind Royal and a desk, Mikepar was not tired to work until recent days and died on May 8, 1938, on the eve of the release of his book "Years of Teachings". He was buried on the literary walkways of Volkova Cemeteries in Leningrad.
The complete collection of the published writings of Maikapara can put in one volume. Although their quantity is very large (over 200 titles), but most of them are piano miniatures that fit on one to two pages. Maikapara works were printed in Germany, Austria, England, France, America, but it does not follow from this that during the life of the author they used widespread distribution. Initially, when Mikepar was not known as the composer, the first essays of it (romances and piano plays) were printed abroad with a small circulation and, as it was accepted, due to the author. Subsequently, when the children's plays of Maikapara received recognition, only some of them were reprinted by foreign publishers. The overwhelming majority of Maikapara writings were printed in Russia. During the lifetime of Maikapara, they were produced in an amount that no longer satisfying demand; After the death of the author, this demand increased every year, demanded multiple reprints. Nowadays, in any musical library of Russia, the Card file with the name of its writings can compete by volume with the number of cards containing the names of the compositions of the largest composers of modernity. It is characteristic that only children's piano plays of Maikapara were often reprinted.
Writing music for children is very necessary, honorable, but not a light deal. "Yes, a lot, there is a lot of conditions for the formation of a children's writer," Belinsky pointed out, - you need a fertile soul, loving, meek, infant idle; the mind is a sublime, educated, look at the object enlightened, and not only live imagination, but also a living poetic fantasy capable of imaging everything in animated rainbow images. " He adds to this: "Only the poet can be the best writer for children, the highest ideal of the writer."
Satisfying the requirements for Belinsky to children's writers, in many of their writings for children S.M. Mikepar manifested himself with a genuine poet.
December 18, 1867 - May 8, 1938
famous pianist and composer, teacher of the Petrograd Conservatory, Music Writer
A versatile talent musician, Maikapar was known as the author of a number of piano plays for children and young people. In particular, his cycle of piano miniatures "Biryulki", his romances and musical hearing (Moscow, 1900) won great popularity.
Biography
Soon after birth, Samuel Maikapara's family moved from Kherson to Taganrog. Here he entered the Taganrog gymnasium. Music began to study from 6 years (lessons from Mall).
In 1885 he moved to St. Petersburg and entered the conservatory, where he studied as a pianist at Benjamino Chezi, Vladimir Demyansky and I. Weis, as well as in the class of composition Nikolai Solovyov. In parallel, he was engaged at the Faculty of Faculty of St. Petersburg University (graduated from 1891).
At the end of the Conservatory in 1893 until 1898 was improved as a pianist under the leadership of Theodore Leshetitsky, concert in Berlin, Leipzig, St. Petersburg, Moscow and other cities.
From 1898 to 1901, he performed in concerts with Leopold Awero and Ivan Gramali. In 1901 founded a music school in Tver. From 1903 to 1910, living predominantly in Moscow, engaged in concert activities, systematically concert in Germany.
He took an active part (secretary) in the work of the Moscow Scientific and Music Mug, led by S. I. Taneyev. From 1910 to 1930 he taught piano in the St. Petersburg Conservatory. It was the initiator of execution in the concerts of the cycle 32 Sonat Beethoven (for the first time in 1927).
Great Jews Muderova Irina Anatolyevna
Maika Par Samuel Moiseevich 1867-1938 pianist and composer
Mike Par Samuel Moiseevich
pianist and composer
Samuel Mikepar was born on December 18, 1867 in Kherson. Soon the family of Samuel Maikapara moved from Kherson to Taganrog. Here he entered the Taganrog gymnasium. Music began to engage in six years.
In 1885 he moved to St. Petersburg and entered the conservatory, where he studied as a pianist at Benjamino Chezi, Vladimir Demyansky and I. Weis, as well as in the class of composition Nikolai Solovyov. In parallel, he studied at the Faculty of Faculty of St. Petersburg University, who graduated in 1891.
In 1894-1898, he was improved as a pianist in Leshetitsky in Vienna.
From 1898 to 1901, he performed in concerts with Leopold Awero and Ivan Gramali. The skill and talent of Maikapara - Pianist and the composer - A. Rubinstein, E. Grig, I. Engel, were noted.
In 1901, Mikepar founded a music school in Tver, led it to 1903. Maikapara's contribution to the creation of music for children and junior is significant; It has been written over 200 pieces, most of which are reinforced by the study repertoire of novice pianists ("Biryulki", "Puppet Theater"). Most of these plays of software content, they are written on accessible to young performers and at the same time highly artistic musical language.
From 1903 to 1910, living predominantly in Moscow, engaged in concert activities, systematically concerted in Germany. Finally returned to Russia at the initiative of A. Glazunov, director of the St. Petersburg Conservatory. He was offered the place of the teacher in the St. Petersburg Conservatory. He led the piano class there since 1910. In 1917, it becomes a conservatory prespower. Maykapaar raised about 40 professional pianists. After the revolution, it was listed in the "conservatives", mainly for unwillingness to approve the reforms imposed on the conservatory, first of all, the "screening" of the applicants of unpoletarian origin. In 1928, in 61, it was forced to quit.
On his initiative in 1927, a cycle of 32 Sonat Beethoven was performed for the first time.
His books "Musical Hearing. Its meaning, nature, features and method of proper development "(1900; 2nd Edition - 1915)," The meaning of the creativity of Beethoven for our modernity "(1927)," Years of Teachings "(1938, the initial name" Why and As I became a musician ") - the works of young readers are rare in the world literature about the beginning of the path of the concert musician.
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From the book of the author From the book of the authorPiller Peter Moiseevich (Moseevich) Pseud. P. Khrushchov; 16 (28) .1.1879 - 21.12.1941Literate and theatrical critic, prose. Publications in "Science and Life" magazines, "Pass", "Magazine for All", "Spring", "Awakening", "Education", "Shards", "Sun of Russia" and others. Collections of stories and
The name of the composer uses wide fame in Russia and abroad
children and youth. Thanks to artistic advantages, understanding
children's psychology and taking into account the features of the children's game apparatus, plays
Maikapara firmly entered the repertoire of young pianists. Children like these
bright, figurative works. With confidence you can say that there is neither
one young musician who did not play or did not hear
comrades of some play Maikapara.
1867 in the city of Kherson. Children's and youthful years are associated with Primorsky
southern City - Taganrog.
A noticeable place in the cultural life of the city was occupied by homemade.
Just as Muzitissed in the Czech Family, paid a lot of time
music and in the family of Maikapara. Well played on the piano Mother Samuel
Moiseevich, who studied in youth in Odessa. Played on the piano his three
sisters, the fourth studied the game on the violin.
Taganrog was considered a musical city. As a music school in
Taganrog was open only in 1885, then before that time, learn
music could be only among private teachers. Teaching children game on
some musical instrument was almost mandatory in each
intelligent Taganrog family. Maikapara's father was enough
a wealthy person to give children not only average, but also higher
education.
Samuel studied in the same gymnasium that ends before eight years
great Russian writer A.P. Chekhov. In 1885, Mikepar graduated
gymnasium with a silver medal.
Gymnasium A.P.hehhova and S.M. Maikapara today.
.
Already at this time, his genuine passion and purpose of life became music.
Pretty early Maykapara decided to become a musician. And in this respect
his parents played a positive role and, of course, his first teacher
music, Italian Gaetano Molla. Mikepar characterized him as
a talented, temperamental and hardworking musician who learned him
understand and love music.
Maykapara was seven years old when he began learning the game on the piano.
Musical abilities he inherited from mother, and love for music - from
father, who, though not played any of the musical instruments, but
it was always ready to listen to music and deeply felt it. Systematic
piano game classes, ensemble game, visiting chamber and other
Concerts brought up the taste of Maikapara, introduced musical
literature. By fifteen years he already knew the main works
symphonic and chamber music, playing with sister in four hands a lot
Symphony and quartets. He played almost all Sonatas Beethoven and pretty run
i read from the sheet. At this time, Maikapar was considered the best accompanist in
Taganrog and spoke not only with local amateurs, but also with visitors
professional musicians.
To obtain higher education, Mikepar went to St. Petersburg, where
there was the oldest conservatory in the country, which was enjoyable
we taught in it the largest musicians. To continue the general
education, he intended to enroll in the university.
Maykapara, as an overcoming gymnasium with a medal, admission to the university
It was provided. He chose the Faculty of Law, as not demanded from
students great time spent on systematic classes. Same time
it was a Maykapara, as in the case of admission to a conservatory
i needed to play on the game on the piano daily and remember. The young man was
adopted for the junior course conditionally, for one year, since its technical
preparation left much to be desired.
Samuel Moiseevich entered the class of senior teacher V. Demyansky,
which in two years I was straightened by the defects of the hands of his hands, taught
work carefully on the musical work, significantly moved
Technique. Successfully handing out the technical exam for the transition to the senior course
conservatory, Maykapaar moved to the class of the Italian pianist of the Veniamine
Cese, just invited by professor in St. Petersburg
conservatory.
For four years, Maykapaar has engaged in Cese, with which he
it was possible to thoroughly familiarize himself with the piano music Baha, Handel and
Other vintage masters. Having worked at the conservatory four years, Cezi
It fell ill and went to my homeland in Italy.
Weix, sheet student. Teaching Weiss was distinguished by rawness and
lack of any system. Mike Par was more listed his student than
engaged with him. To the final exam, MaikaPar was prepared independently,
as shortly before the exam fell ill. He played the program well and was
appointed to speak at a conservative act, which the best of
graduated.
When Mikepar passed the last of the auxiliary musical
theoretical items, A. Rubinstein attended the examination.
After reading the experience of Maikapara in writing music, he advised him
start studying the theory of composition. So Maikapar found himself in class
professor N. Solovyov, coming to the end of the conservatory not only as
pianist, but also as a composer.
Years spent Maykapar in the conservatory turned out to be very
important due to the surroundings in which he was. Being on the post
director of the conservatory, A. Rubinstein took close to heart not only
the interests of the institution, but also the fate of each student. Forever remember
Mikepar and bright Rubinstein performances on stage.
A.G Rubinstein.
St. Petersburg Conservatory.
The University of Maykapara graduated two years earlier than the conservatory. It
short time tried to engage in advocate, but soon made sure that
it is impossible to connect the music of music with jurisprudence. But doing in
university, Maykapara acquired a famous look of views,
disciplined his thinking, learned to argue and clearly state
his thoughts. This allowed him to subsequently go beyond narrow
musical specialization and become an outstanding scientist in
areas of music.
Even after receiving conservative education, Mikepar was not
satisfied with the results achieved. He believes critically
pianistic opportunities going to Vienna to learn from the famous
Theodora Leshetitsky (1830-1915). This outstanding teacher brought up more
thousands of pianists, many of whom successfully performed on concert
scenes for almost the entire XX century. Among them - Anna Esipova, Vasily
Safonov, Arthur Snabel.
Theodore Leshetitsky
Maykapara was inherent in perseverance, forced him, holding a job,
injury in the slightest details until the question is fully studied.
Such exceptional good faith was manifested by Maykapar in all
regions. A. Rubinstein, who heard Maikapara repeatedly to the student
concerts, addressed him with a proposal: "Pretty you learn! You are already
now the finished pianist. Let's concerts, and the stage will teach you what is not
will be able to teach any professor in the world. "However, only after seven years
after this conversation, Maykapara decided to speak with independent
the concert that he gave in Berlin immediately after graduation from
Leshetitsky.
as you can act as often in concerts. With great thoroughness of MaikaPar
preparing for performances, thinking of concert programs, regardless of
togo is this performance, a game in an ensemble or in a charitable
concert. Own works it includes in them with a big
caution and minimal quantity.
Thinking through the development of his pianism, listening to the game of other musicians,
it appears in the press of its large research work "Musical rumor,
its value, nature, features and method of proper development. "This
mikepar has shown himself as an outstanding scientist, musician,
not only playing, but also theoretically thinking. Special attention was
fully dependent on external. He pointed out: "The more we work
over clear distinct perception of external impressions than they are richer
paints and diverse in nature, the inner hearing will be ...
getting more and more material for your development and enrichment. "
Active participation takes Mikepar in organized in 1902 in
Moscow "Scientific and Music Circle", supervised by S. Taneyev, and
later Professor Physiology A. Samoilov. Members were a mug
prominent Moscow musicians and scientists who were interested in music.
The secretary of the circle and the organizer of all reports was MaikaPar.
At the meeting, Maykapara mug had to come from Tver, where in 1901
year he opened his own music school. She existed three
of the year. For such a short time, naturally, Mikepar could not see
the essential results of their pedagogical work, however, classes with
children led Maikapara to the thought of creating numerous children's plays
for piano, which found a favorable response in the press. From the number
writings of Maikapara, created in pre-revolutionary time, great interest
present piano miniatures: "12 album sheets", "Theater
puppets "from seven rooms. However, a genuine Triumpham of Maikapara as
composer for children are "Biryulki" - a cycle of plays, created after
revolution.
The difficulty of leading in Russia scientific work in the field of music was one of
the reasons who prompted Maikapara to go abroad again. Berlin in T.
the time was the center that attracted the largest musicians in Europe.
Mikepar elected the main place of his residence, and Leipzig,
which represented interest to him as a center of scientific musical thought.
The existence in these two cities, Mayka Par attended concerts, studied literature,
i got acquainted with composers, musicians and performers. His own
concert speeches were held in small halls. Great success fell
on his speech with his wife - Sofia Makapaar. Her color soprano
caused big praise.
Sofia Mikepar (1883-1956)
Mikepar wonders the creation of a training manual in which, based on
scientific data, would be highlighted by the most important issues of teaching the game on
piano. As if to continue the published book about a musical hearing,
separate parts were supposed to wear headlines: "Rhythm", "Technique", "Reading with
sheet "," Pedalization "," Public execution ", etc. The work of this
Maikapar started, continued for many years, a lot has already been done, but
finally not completed. The task was too difficult to solve
one person, taking into account exceptional conscientiousness
Living abroad, Mayka Par does not lose touch with Russia. Here he lived
native, here he came to rest in the summer. In 1910, when he
was in Berlin, they received the following letter from the director of St.
St. Petersburg Conservatory A. Glazunova:
"Multivaable Samuel Moiseevich! I bring to your information that
You are in candidates for teachers piano as the lowest and higher
course. The Council empowered me to notify you. Elections must
take place in the very near future and about the result of elections, which,
i hope it will be favorable, I will notify you with a telegram. With sincere
respect and devotion to A. Glazunov. "
Perspective to conduct pedagogical work at the conservatory, where he himself studied,
it seemed to Maikapara seductive. Petersburg conservatory
enjoyed the reputation of one of the best musical educational institutions in
world. For the pedagogical work of Maikapara, the situation in the conservatory
it was very favorable. Piano district conservatory
he was headed by A. Esipova, student of Leshetitsky. She used
glory.
Anna Nikolaevna Esipova (1851-1914)
When the conservatory has a question about the invitation of a new teacher
piano class, then the candidacy of Maikapara did not cause anyone
objections. He was a pupil of the St. Petersburg Conservatory,
belonged to the School of Leshetitsky, concerted and led the pedagogical
work abroad. In addition, he had another university education,
what is not so often found among professionals' musicians. Famous
the meaning was that he at one time graduated from a conservatory on two
specialties and in the present amounted to a name as composer and author
valuable musical and theoretical book about musical hearing.
Soon, Maikapar was obtained by a telegram who announced him about
the favorable outcome of the runway in the art council of the conservatory.
From the fall, he has already begun to classes. Starting work as a teacher,
he was approved by the senior teacher in two years, and in 1915 he became
professor in the class of special piano.
Almost twenty years later Mikepar Pedagogical work in St. Petersburg -
The Leningrad Conservatory, at the same time he performed in concerts, composed
music and engaged in scientific work. His concert speeches
mostly in the male hall of the conservatory attracted culture
execution. The most significant performing achievement
Maikapara was holding a cycle from seven concerts in 1925, in which
he performed all the piano Sonata Beethoven. Execution, which
Mikepar always loved, remained for him the basis of all other species
activities - compositions, pedagogy, scientific work.
During work in the Leningrad Conservatory, Maikapar was released
over forty pianists. In his own pedagogical work, Mike Par was
follower of the School of Leshetitsky, however, did not remain the imitator
the techniques of their teacher, and all his life was a seeking teacher.
As a scientist and public figure especially actively showed himself
Mikepar in the twenties. He took part in reforming educational
conservatory plans, participated in the work of various commissions, performed with
methodological reports at the meetings of the Piano Faculty. In these
years appears his work "Scientific Organization of Labor in Application to
the work of the artist's musician ". In 1927, the book" Meaning
creativity Beethoven for our modernity "with a big preface
A.V. Lunacharsky
At the end of the twenties, a complex setting appeared in the conservatory, in
connection with the struggle of various schools and directions inside the piano
faculty. All this demanded that Maikapara voltage forces. He started
be sick. Bringing the last students to release, Samuel Yakovlevich in 1929
left work at the conservatory. Preserved forces he gave the musical
creativity and literary works.
They were almost completed by the work "Creativity and the work of the musical
performer according to experience and in the light of science. "The work of Maikapara
remained in the manuscript, but his thoughts about the technique of work on musical
the work was reflected in the lectures he spent in the spring of 1935 in
House of art education of children in Leningrad. Lectures were called
"How to work on the piano" and were intended for school-age children.
In the same 1935, Maikapar writes an article "Children's instrumental
ensemble and its meaning in the system of musical education. "
In 1934, a competition of young testers was organized in Leningrad, in
who participated children-musicians aged from seven to sixteen
years. Maykapara was as part of the jury of the competition. More than half
speakers played his piano plays. In the ruling
watching and promoting artistic education of children in connection with
competition of young custody, having a huge cultural significance, and
approve the Resolution of the Competition Committee on the Award
Maikapara S.M..
In recent years of life, in addition to writing plays for instrumental
ensemble and remaining unfinished cycle of light preludes and fugues for
piano, Mikepar continued to pay a lot of attention methodical
work. All my life, after spending a piano and a desk, Mikepar not
the light of his book "Years of Teachings". He was buried on literary walkways
Volkov cemeteries in Leningrad.
The full collection of published writings of Maikapara can meet in one
tome. Although their quantity is very large (over 200 titles), but most
of these, piano miniatures that fit on one to two pages.
Maikapara works were printed in Germany, Austria, England, France,
America, but it does not follow from this that during the life of the author they used
widespread distribution. First when Mikepar was not known as
composer, its first essays (romances and piano plays) were
printed abroad with a small circulation and, as it was accepted, at the expense
recognition, they were produced in an amount that no longer satisfying demand.
multiple reprints.
Writing music for children is very necessary, honorable, but not a light deal. "Yes,
many, a lot of conditions for the formation of a children's writer, - indicated
Belinsky, - Need the soul of graceful, loving, meek, infant
ingenuous; mind exalted, educated, view for the subject
enlightened, and not only live imagination, but also live poetic
fantasy that can imagine everything in animated rainbow images. " These
words to an even greater degree can be attributed to the children's composer.
(The basis of this work was the article article of the St. Petersburg Society of Karaimov)
NGMBOODD DMSH them. G. Nefteyugansk.
Methodical report
"FROM. Mikepar and his piano cycle "Biryulki"
Amounted to:
teacher
piano branch
S. Mikepar and its piano cycles.
Cycle "Biryulki"
S. Mikepar was born in Kherson in 1867, his childhood years were held in Taganrog, then Maykapara enters the University of St. Petersburg at the Faculty of Law, which he graduated from 1891 and at the same time in the St. Petersburg Conservatory, where he studied in two specialties: compositions and piano. At the end of the conservatory and, on the advice of Anton Rubinstein, Maikapar goes to Vienna to improve the famous Pianist of Professor Theodore Leshetitsky. From 1903 to 1910, Mikepar lives in Germany. He concerts a lot, composes, engaged in scientific activities. In 1910, Maikapar received an invitation from A. Glazunov to teach in the St. Petersburg Conservatory. In 1930, Maikapar leaves the conservatory and is devoted entirely to creative work - compositions, executive, scientific work. Mikepar died on May 8, 1938.
The full collection of Maikapara can put in one volume. Although their number is very large (over 200 items), but most of them are piano miniatures that fit on one or two pages. Maikapara's plays were printed in Germany, Austria, England, France, America. The writings catalog of Maikapara contains piano plays, romances and essays for a chamber ensemble.
Mayka Par began to compose aged 14-15 years and continued his whole life. And it was in the field of children's music that the name S. Maikapara became widely known in the country. He found musical images and intonation close to the child; With the help of their plays for beginners, he teaches children to love music, opening them the wide possibilities of their own creativity and the road to the knowledge of the wonderful art of sounds.
In vain, we would search in the children's plays of Maikapara bright stylistic features. Their value is not in any unique individual features of the melody, harmony, etc., and in combination of all elements, each of which may not be so significant. Clear purposefulness, the impedition of the statement, connected to the large performing and pedagogical experience, helped Maykapara to become one of the prosecutors of Russian children's piano literature. They developed a holistic system for the development of piano technology. Its cycles of piano works addressed to young pianists are built on a completely defined plan covering one or another section of piano technology or a kind of pianistic difficulty. At the same time, the principle "from simple to complex" is strictly observed. According to this plan, a cycle cycle preludes OR-14 was created, two octave intermescoor-13, Stakkato Preludes OR-31. Tasks in the collection of ensemble plays "The first steps of the OD-29 in the piano in 4 hands are strictly complicated. A clear pedagogical plan is visible in the famous cycle "Biryulki" (it is associated with familiarizing the student with all 24 tonsities).
If you take the work of Maikapara in the field of small forms as a whole, the closest to him in shape, and in part and in spirit it turns out. Composing the children's plays, Maykapara proceeded from the belief that the general requirements of small artists are the same, "As in adult performers; This requirement of the formation of colorfulness, then simplicity and idleness of compositions. I gave this site the best forces of my creativity. "
Qualities that are characteristic of Maikapara as a "children's" composer: the vitality and imagery of the content (lack of artificiality, deliberateness, contrived), sincerity and emotionality, simplicity and laconicism, the finisal of the form, organic communication with the tool.
This is how Mike Pieces distributed on their content:
Pictures of nature: "In the morning" Op.15 №1, "Evening", "Night", "Autumn", "Echo in the Mountains", "Spring", "Clouds float" Op.23 №24, "By the sea at night", "in the fog "," Rosinki "," Quiet Morning "," Stormy Stream "," Star Night "Op.33 №19.
Sound-resistant plays: "Swirl", "in the forge", "Musical Clown" Op.16 No. 6, "In War", "Music Box", "Friendly Work", "Connection is", "Ealar Harp" op.33.
Pieces figurative-visual: "Cleellael" Op.8, "Italian Serenade" Op.8, "Mermaid", "Dance of clowns" Op.21, "catching butterflies", "in kindergarten", "sirot", "shepherd", "fleeting vision", "Motylak", "Lullaby", "Sun Sailors", "Seven-Mile Boots", "On the Kink", "Rider in the Forest", "Butterfly" op. 33 №8.
Pieces of mood and feelings: "Sad mood", "Complaint" Op.15, "Greza" Op.16, "In the separation", "Memory", "Song of Troubadura", "Anxious minute", "Funeral march", "Meditation", "Far Road" "," Calling Song "," Elegia "op33," Fun Game "op.33," Dramatic passage ".
Dancing: "Gavot" Op. 6, Tarantella, "Waltz", "Menuet" Op.16, "Polka", "Mazurka" op.33.
Narrative music: "Fairy Tale", "Romance", "Dialogue" Op.15, "Padderitsa and Magic" Op.21, "Lullaby fairy tales" Op.24 from №1-6, "Legend", "Terrible story", " Sail Story »Op.33.
Musical headlines: "Children's Piece", "Prelude and Fugetta", "Operetta", "Melody" Op.8, "Lesson from the Album", "Nokturn" Op.8, "Stercino" Op.8, "Little Rondo", "Prelude »Op.16," Variations to a Russian topic "," Fugetta "Op.8," Sonata "Op.27 and so on.
The overwhelming majority of the piano Pieces of Maikapara are software works, this is explained by the desire to awaken the fantasy of children with the help of their characteristic names, i.e., by associative comparison of sound images with phenomena and emotions, well children familiar. Maykapapar concretized the content of the plays, they were aware of the special need to create children's plays for beginners, which was fulfilled with exceptional success in the cycle "Biryulki".
"Biryulki".
The cycle of piano plays for children S. Maikapara "Biryulki" belongs to the number of classic works of the pedagogical repertoire and stands in one row with such collections as "Anna Magdalen's Maggid Notebook", "Children's album", "An album for youth" F. Shuman. Created in the 1925-1926 cycle "Biryulki" enjoys constant love of both young musicians and their teachers. The plays of the collection distinguishes everything that is characteristic of true masterpieces - regardless of whether the monumental is a work or miniature - inspiration, the perfect harness of the form, perfect decoration of the details. Now few people know what Biryulki is. Sometime it was a very popular game: a handful of sliced \u200b\u200bstraws, put the table to the table; Playing pull out, alternating one without shaking a mustache. "Biryulki" is suite, including piano plays of various content. It consists of six notebooks for four plays each (in the last notebook of 6 plays). This compilation is interesting to compare with cycles, like "H. Because "Baha," Biryulki "plays in all 24 tonalities. However, the constructive principle of building "Biryulki" is somewhat different: I series (notebook 1 and 2) with from up to 3 digesters; in the II series (notebook 3 and 4) C to major to 3 bemoles; Notebooks 5 and 6 cover the plays in tonalities with 4,5,6-centies. Thus, despite the fact that all the tonalities 24, and the plays are 26 tons. K. Tonality C and A-Moll as the initial points of movement in the diezer and the bramole side are repeated twice. Understanding how important for small musicians, Mike Par was very serious about the search for brighter names for plays; Not always it was the first names of the plays. So, in the original version of the "alarm minute" was called "anxiety", "Moth" - "Elf", "Legend" - "Greens", "Spring" - "Baby". Instead of "Gavota" at first, the play "Moonlight" was conceived, although the music of this play does not give grounds for such an illusion. Some plays appeared, as testified by drafts, immediately in completed form, others have been refined and processing. So the "small commander" did not immediately appear. First, "continuous work" was born. She was a melodic grain for a "small commander." "F-Moll thumbnail is now" seven-world boots "- at the initial plan there was a completely different musical idea.
Maikapara's plays are always very expressive. They are characterized by a bright melody, memorable, usually a small length. Energetic "Sun Sailors", Technical Naigrysh in "Cleasting". Each play is peculiar. Its name is not a chance of a shortcut label, but determining the content that makes it possible to deploy the creative fantasy of the young artist. The advantage of the plays in the thematic material itself and less - in its development. It resorts to contrasting comparisons, and if they are not needed, the repeated phrases diversify the change in the harmonic background, the figure of the accompaniment, the change of the register. Harmony in plays is extremely simple.
Very often, Maykapaar resorts to the polyphony, if at the beginning of his creative path he enjoyed the receptions of the polyphonic letter rather intuitively, then later came to the conviction that the polyphony is a prerequisite for creating a truly piano work.
Mikepar did not forget about the small size of a children's hand. Nowhere in his children's plays, we will not find the octave taken by one hand, or chords in a wide arrangement. Oktavna doubling, it is always performed by two hands. The widespread use of the piano registers associated with the squeeziness, complete freedom of movement of the hand and even the housing, within the entire range of the tool. Mikepar very often and skillfully resorts to this reception. Already the immediate use of a particular register gives the corresponding artistic effect (high register - "Moth", "Rosinki"; the average singeling "Romance", "meditation"; low "funeral march", etc.). Moving within one play of any passage, phrase or even a separate chord from one register to another gives another color coloring. Connecting transfer with pauses, withstanding the duration of the sound, barely noticeable changes in strokes, dynamic shades, etc. Maikapar is achieving the strengthening of the semantic value of individual "pieces", emphasizes the mood changes, etc. Using the register Piano expressiveness. The plays are always accompanied by a clear indication of the performance tempo, often reinforced with the designation of the metronome. Template instructions, the composer attached great importance, correctly, given that they give an idea not only in the speed of movement, but also its character. Strokes, dynamic shades and other designations appeared in an inseparable connection with the tight text. Fixing on paper music signs, the composer embodies simultaneously with the performing plan, providing for the accuracy of its implementation. The share of the artist Pieces of Maikapara remains only to follow its instructions. In this case, they will maximize the artistic performance. Maikapara is always designated legato and staccato (easy and heavy), portable, signs of length over a note, accents, etc. Armed leagues accurately indicate the beginning and end of the phrase, and dynamic designations - signs of acceleration and slowing motion (using Italian terminology) Always affixed in the place where they should begin and where to end. It is impossible not to note the features of the designation of the appliqué, put on Maikapar in his plays, giving it a great importance to her and the right attitude towards it. Mikepar Pedalized exceptional accuracy in the designation of pedalization, considering it an effective means of artistic performance. The use of pedals in his plays is very diverse and it is always justified by artistic purposes. Unfortunately. The issues and designations of pedalization in the plays of Maikapara is not given even to teachers enough attention and the value that the composer attached to them is not attached.
Special attention should be paid to the fact that the collection "Biryulki" is a cycle of a variekractic plays, i.e. it has an artistic value as a whole. And although, of course, it is difficult to expect his execution by young musicians entirely, as far as not often fulfill the cycles of inventions and symphony Bach, HTC, according to the original plan of "Biryulki" as a single work. Everyone is easy to make sure that if aware of the design features of the cycle (tonal plan) and play plays one after another: the appearance of each next sounds like a surprise, and not dissonance with the previous one. It is quite obvious that only a big master could create a slim suite from 26 plays.
Writing music for children is very necessary, honorable, but not a light deal. Belinsky wrote "We need a soul of gracious, loving, meek, melodic, cozy; The mind exalted, educated, live imagination, live poetic fantasy, capable of presenting everything in animated rainbow images. "
Literature.
1. Samuel Mikepar and its piano cycles. "Classic" 2009
2. Portraits of pianists. D. Rabinovich. M., 1963
3. The initial period of learning the game on the piano. , 1989