Elena Kurovich

purpose: Promotion children to the creative heritage of the composer with. M. Maikapara.

Tasks: 1. Learn children Discern the image of music, the means of musical expressiveness, the form of musical works.

2. Develop a sense of rhythm, the ability to transmit through the movement the nature of the music.

3. Rip emotional responsiveness, love for music.

Registration of the Hall:

Portrait of S. M. Maikapara, Music box, Children's small toys, Fairy tale book, photos of the St. Petersburg Conservatory.

Quickly sounds "Waltz" FROM. Maikapara. Children enter the hall, sit down.

Music leader:

Hello, dear listeners! Today we gathered with you in the music living room to hear music, dedicated to you - children. Posted by her composer Samuel Moiseevich MaikaPar. (Portrait show. Figure1.) Samuel Mike Par Born more than one hundred forty years ago. In the family, children - Samuel and his four sisters, since childhood they were engaged in music. His mother played her piano very well. The boy's classes began with six years old, and from nine years Mike Par participated in concerts.

When he grew, he went to study in the St. Petersburg conservatory. (Figure2. Figure 3.) tal writing, compose music, including for children. Very famous his children's piano cycle "Biryulki". Listen to the sound of this word - it is affectionate, gentle, musical. A long time ago "Biryulki" - was a favorite game death. The table was hung up a bunch of very small thing: cups, lines, pollunas and other home utensils. Biryuchka from a handheld needed to get a small crochet, one after another, not stirring the rest.

The game "Biryulki" In modern version

Music leader:

Little plays Maikapara resemble those whiskers from antique Game. Listen to one of them "Shepherd" (Execution)

Shepherd - a little boy who is bright, sunny dayd to a summer, a blooming meadow near the river. So that it was not boring to graze his herd, he cut off his coat and made a small swirle out of her. Light, joyful naigersh swivel rings over the meadows. In the middle of the miniatures, the melody sounds excitedly, anxious, and then again sunny and joyfully. Let's take this play orchestra: When the music will sound light, joyfully - accompany it will be ringing triangles. And if you hear anxious, excited notes - accompany them will be tremolo tambourines, maracas and tambourines.

Orchestration play "Shepherd"

Also Samuel Mikepar wrote music, dedicated to nature, time of year. What "scenery"You all know everything perfectly. (Answers children) Now the play will sound for you "Spring". In it, you can hear the voices awakening after the winter hibernation of nature. This is the ringing of crops, revived birds trill. Music is light, gentle, transparent, just like fresh spring air.

Hearing play "Spring"

Or maybe someone knows you poem About spring and will it read it?

Reading spring poems

Music leader:

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

In the morning, Beada claws

All the grass is scribble.

And went to look for them in the day -

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

Samuila Maikapara There is a play with such a name "Rosinki". Let us try to pass the ease, the transparency of these little droplets-beads.

Music and Rhythmic Exercise "Light run" on music S. Maikapara"Rosinki"

Now we have a fascinating journey to the world of fairy tales. But in order to get there, it is necessary to say some spell or open a small magic music box. She will lead us to the world of fairy tales.

Sounds play "Music Cabinet"

What can you say about this music? (Answers children) She seems to be a toy. The sounds are very high, light, ringing. Remind the game of tiny bells, inviting us to a fairy tale. And in fairy tales there are many different wonders and magic. For example, "Seven-mile boots". Like the composer depicts them? These are large jumps of individual accented sounds, measured and heavy, as if gigantic giant steps overcoming huge distances.

Hearing play "Seven-mile boots"

Next Piece composer called"Tappy". Do you have your favorite fairy tales? (Answers children) Yes, fairy tales are different. Listen "Tappy". What words can I describe the sound? (Answers children) Opening melody sounds gently, slightly sad.

Mood is created by easy thoughtfulness. Or maybe someone presented his story, listening to this play? (Answers children)

Today, guys, in our music lounge we touched the musical heritage composer S.. M. Maikapara. For you, played plays from the children's piano cycle "Biryulki". This is naughty "Shepherd" (Figure4. Figure 5.)

and "Seven-mile boots" (Figure9. Figure10.)

and "Music Cabinet", and play "Spring" (Figure6. Figure7.)

and small "Tappy" (Figure11.)

and "Rosinki" (Figure 8.)

And I suggest you go to our artistic studio "Rainbow"And the fact that you remember most of all, I liked express in your drawings. Wish you creative Lifting and inspiration!

Publications on the topic:

Our pre-school institution has many years of social partnership experience with various organizations and institutions of society. We carry out.

"The Story of One Love." Concert Concert with Senior School Children Author: Romahova Marina Gennadyevna, teacher in the class Piano TsGTUY G. Krymsk Objective: Education comprehensively developed, harmonious, spiritual.

Conversation for children of senior pre-school "Prince Vladimir" Relevance: the identity of Prince Vladimir, the historical meaning of Vladimir Saint for the Russian people is incredit and relevant.

Conversation for children of senior preschool age "Who creates a movie?" Educator: Guys, do you like to watch movies? (Responses of children) And what films do you like most? Educator: Have you ever wondered.

Conversation for children of senior preschool age with a practical part "Black Gold Ugra" Objective: to expand the ideas of children about natural.

Disco for the creativity of the composer V. Ya. Shainsky The disco for the work of V. Ya Shansky (entertainment for children prepared for school group) The children are included in the hall to the music of the song "Together.

Many composers write music that adults and children are listening to the same enthusiasm. But there are composers that all their creativity devoted to the creation of only children's music, and such that children could not only listen, but also to fulfill themselves.

Today we will get acquainted with the music of one of these children's composers, which lived over 100 years ago. His name was Self Moiseevich Makapaar.

Samuel Moiseevich Maikar. Born in the city of Kherson in 1867. In the family, besides him there were 4 sisters and they were all engaged in music. Samuel's musical abilities inherited from her mother, who played very well on the piano. He began to make music from 5 years. At the age of 11, he himself began to compose music, started the notebook, in which he recorded all his works. In the family it was decided that Samuel would become a lawyer, but he refused this career and entered the conservatory, which he successfully finished.

In 1901, Maikapar moved to the city of Tver, where he opened his own music school. Then he came into his mind to write children's works that could fulfill the children themselves.

A variety of small composer's plays for small, only novice artists can be called miniatures. They, as photos in the album, are combined into cycles. With one of these cycles, we will meet today. It is called "Biryulki".

Listen to the sound of this word. What is it affectionate, musical. What does it mean? Once, a long time ago, it was a favorite game of children. A very small toy little things - flames were poured onto the table - flagella. Most often it was carved from a tree of a cup, aids, half and other kitchenware, ledder, hats, sticks and so on.Biryulki needed to get a small crochet, one after one, not stamping the rest.

Maikapara's little plays resemble the most flames from the ancient game. Let's get acquainted with this music. What can be found among the Turel Maikapara?

First of all, it is children's music portraits.

Here is a little shepherd. With a clear sunny day, he came out on the summer blooming meadow near the river. So that it was not boring to graze his herd, he cut off his kamyshinka and made a swell out of her. (Swirl is a little shoe). Light, joyful tunes rang over the meadows. In the middle of the play, the melody has become more reminded by a shepherd dance, and then his dull began to play.

And now, having listened to the next miniature, we will see little commander. He is very militant, courageous and brave. With a clear voice, he vigorously gives orders. We do not know who they are intended to be tin soldiers, mild toys or kids. But music convinces us that any order of such a commander will be fulfilled.

In the next play, the music is very sad, quiet, a complaint, listening to her, I want to regret someone, put it, cry. It seems that the child complains about her hard life, for his sad fate. Called this miniature Samuel Mike Par - "Syarota"

Alan Huckleberry, Piano


IMTA LEVEL C3.

TRIFLES: 26 Short Pieces for Piano, Library of Russian Soviet Music, 1977

These are some completely different portraits, not similar to each other introduced to us the composer. In each of them, no adult is guessed, but a child. And about each of us told music in his own way.

Now we will pay attention to musical landscapes. What is a "landscape"? These are pictures of nature: "Clouds float", "Spring", "Autumn", "on the rink". Music landscapes of Maikapara are dedicated to the four times of the year.

In "Biryulki" Maikapara, there is no such play, which is called "Summer", but at this time of the year it is easily recognized in some miniatures. Here, for example, "in the kindergarten". Listening to her, lively imagine a warm, summer day, a playground, a shady garden. Let's listen.

Playing in the garden, the children suddenly saw ... What do you think? Maybe it's a butterfly or a bird?"Moth" ...So Mikepar called this work. The moth is much less butterfly, he 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 it saw everything like water with a large, powerful stream poured into the river. Especially in spring. Have you seen? In play"Storm stream"Mike Par pictured this picture.

Now we have an amazing journey to the world of fairy tales . Fairy tales are always something mysterious, surprisingly beautiful, unusual. Sometimes we compose fairy tales yourself, sometimes we see them in a dream. Samuel Moiseevich came up with small fabulous plays, such as, for example: "Mimolet Vision", "Fairy Tale", "Legend" ...

Who among us does not like dancing? We like children's and youth, modern and ballroom dancing. We gladly see the ballet, and this is also a dance. Dances are a very exciting, pleasant and beautiful occupation. Samuel Moiseevich Makapara wrote a lot of dances. it polka, Gawood, Menueta, Waltza.Waltz is a ball smooth dance, which is more than 200 years old. Word"Waltz" means "spinning, rotating." In this dance, spinning elegant movements are dominated.

Alan Huckleberry, Piano
The University of Iowa Piano Pedagogy Video Recording Project
IMTA LEVEL D3.
TRIFLES: 26 Short Pieces for Piano, Library of Russian Soviet Music, 1977

Mikepar "Polka"

Span. Katya, 6 years old, 10 months. (DMSH Gaza reporting concert)

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 won great popularity "Biryulki. "

Biryulki, Cycle Pieces for Children, Op.28 (1900)

• 1. In kindergarten
• 2. Syrotka
• 3. Shepherd
• 4. Autumn
• 5. Waltz
• 6. Anxious minute
• 7. Polka.
• 8. Mimolet vision
• 9. Little commander
• 10. Tappy
• 11. MENUET.
• 12. Mothyek
• 13.Musical Casket
• 14. Marsh.
• 15.Collar
• 16. Sailing seafarers
• 17.Leshenda
• 18. Preility and Fugetta
• 19.Eho in the mountains
• 20.Gavot
• 21.Vest
• 22. Demanding boots
• 23. On the rink (Tokkatina)
• 24.Roodle floats
• 25.Romans
• 26. Supplies in the forest (ballad)

Performed Anna Wang (14 Year Old OLD)Anna Wang, 14 years old(Recorded on May 9, 2010 in Vancouver, BC, Canada)

And now I suggest you, my dear readers, children's cycle "Biryulki" S. Maikapara in the form of a fairy tale

(based on the fairy tales of the city)

Once, clinging in the attic, Natasha Mom found an old doll with an irrigated nose in a dusty dress. She had no shoes on her legs. Natasha stressed the doll chestnut pigtails, sewed a new stem dress and small shoe shoes. But, although now she had a shoe on her legs, a doll was called sandwiched. Such her girl saw for the first time. Natasha's sandwalk very loved. Every day in the morning she endured her walk to the garden. Together with them always played a puppy ball. And what only games they did not play!

And in the evening, the tired of the games, the doll was powerless lowered her rag hands, inclined the head on Natasha's shoulder. Then the girl laid the sandals into a wooden bed, shelled the blanket, sang a lullaby

The sandwalk liked such a life. But once, for a birthday, Dad gave Natasha a new doll. She was so beautiful! In a pink transparent dress with magnificent frills, on the legs - lacquered shoe shoes, and on the head hat with ribbons, like a water lily flower. Beauty doll was called Lyalya. She was sitting on the sofa, among embroidered pillows, and did not talk to anyone. Of course, the doll imagined very much. When other toys began to play, she arrived arrogantly: "Potache, my head got across!". The reports were offended and ceased to pay attention to the task.

But Natasha Lyalya really liked. In the morning, she took an elegant doll on his arms, gently pressed toward himself and spisled with her around the room.

And the gentle was Natasha with Lyalya, the sadder and sadness became sandals. She did not have such a beautiful dress, hats, and she could not open and close his eyes. The sandalodel was increasingly crying, clogging into the corner. "What are you humpy," once Lyalya told her. I would have gone away from here. Here I will take and write to Natasha, and you will throw you again. From the insult of the sandals, wept even stronger 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 away from her home. It was dark and scary in the forest.

When the trees have already been charged over the trees, the sandals came to the edge of the forest. She looked around and saw the master of a silkworm master on the branch, and on a tree trunk - a fluffy squirrel with a nut in the chain legs. The sandwalk shared with the forest inhabitants with his grief. The animals were advised and decided to help the doll - make it the same beautiful as Lyalya. The silkworm sewed her beautiful dress, and the squirrel gave her two shells of nut instead of her tufels. Brought a gift and the Heron - it was a lily hat. The dream of sandals was fulfilled: she became the same elegant as Lyal's doll. The animals hung around the doll, the name was to play, but she was afraid to stain her dress. And the animals ran away.

Everyone in the forest was occupied by their business. Silkwall walked his cocoons into the thread. Squirrel pointed on the winter nuts. Sandalus burned. She did not know what to do, but I was not used to idleness. She remembered the house, Natasha, toys. "I did not imagine that I would be so sad to me like a sandals. Why should I have such a beautiful dress if Natasha sees him? I am ungrateful doll. I was removed from a dusty attic, cared for me, and I ran away from them forest". The sandals rushed straight through the spiker bushes. Grass became all thicker and above. Suddenly the wind blew, flashed lightning, large drops of rain fell on the leaves. All the animals were hugged into minks, and the sandals remained alone.

And the rain is all lil and lil. A lily hat clinched over the branch, the wind disappeared the dress, the flow streams were cleaned with the legs of the shoes. Splagored by mud, crushing from the cold, sandals finally saw a familiar roof. But in front of the house, she slipped and fell. She woke up from a loud leaf ball. This is he, loyal to her comrade, all day when she was discouted, did not find his place and went to the wanted. The ball happily licked the sandwalk on his cheek and brought her home. Natasha was very happy. Even Lyalya smiled at the sandals. And how many other toys rejoiced! The doll was cleaned, changed the satellite dress in a wicked sort feast. And in the evening, all the toys staged a real ball in honor of the sandals, and Natasha danced with her, as before.

The sandwalk was happy again. Only now she fully understood that friends are more expensive than brilliant outfits.

.

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)

Project portfolio
Name institution	MBOU DOD "Children's School of Arts Naryan-Mar", 166000, NAO, Naryan-Mar, ul. Teaching,
Head of the institution
Type and name of the project	Creative project "Samuel Moiseevich MaikaPar. Children's Music »
Substantive area	Collective, creative
Project executives	Piano branch teachers:
Character of contacts Number of participants	Teachers: , (Coordinators, project organizers). Participants:pupils and teachers of the piano office
The main objectives of the project
The main tasks of the project	training: · - Acquisition of student experience creative activities and public speeches, ability to perform musical · Works at a sufficient artistic level - in accordance with the style features; · - deepen knowledge about the work of the composer S. Maikapara; · Developing: · - Development of artistry and musicality; · - expanding the musical horizon of students by familiarization with the works of the composer; · - Development of emotionality, memory, thinking, imagination and creative activity; educational: · - Education of personal qualities (hard work, the need for independent work); · - Education of the need to receive versatile knowledge, in visiting cultural events, concerts, theaters); practical: Selection of musical, literary, artistic material for the conversation concert dedicated to the 150th anniversary of his birth Preparation for conversations. socio-significant: Love for music;
Terms of project implementation	Long-term, training 2016 - 2017
A place project implementation	GBU to NAO "Children's School of Arts of Naryan-Mara"
Expected project implementation results	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. Conducting an open event dedicated to 150th anniversary of the birth of S. M. in April 2017 2. For listeners: Received, knowledge of composer S. Maykapara, his work Increased interest in classical music in general; Maintaining interest in learning in a children's music school; Formation of a valid attitude to performers - school students
Reflection activities

In modern conditions, the issue of educating the artistic culture of children is quite acute. Music is one of the most affordable areas to expand the horizons, to increase the cultural level, to educate the moral personality. Music accompanies children everywhere. They hear it in kindergarten, school, institutions of additional education of 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 attach children to the traditions of classical musical education. Children should get acquainted with the most vivid samples of classical music. Knowledge of the biographies of outstanding composers, their creativity contributes both to the development of motivation and expansion of the horizon. In the process of listening to classical writings, studying the main musical genres, musical and expressive means and familiarize yourself with the life of great musicians, more than probably growth in interest in subsequent training

game on tools, to the execution of works of classical music.

The concert activity of students gives them the opportunity to show their temperament, imagination, develops the skills of possession of sound paints, allows you to feel like a real artist for the tool.

The relevance of the project: Active attraction of students to participate in the organization of systematic and planned musical educational work, in mastering the new material, the use of their observations and knowledge, independently acquired in versatile communication with music.

The study of the composer's creative heritage among the piano heritage of which there is a lot of plays, published for the first time relatively recently and have not yet included a wide pianistic use.

Purpose:

Acquisition of children to the creative heritage of the composer.

In this regard, we set themselves the following tasks:

Educational:

Acquisition of students experience creative activities and public speeches, 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. Maikapara;

Developing;

Development of artistry and musicality;

Expanding the musical horizon of students by familiarization with the works of the composer;

Development of emotionality, memory, thinking, imagination and creative activity;

Popularization of music for children S. Maikapara;

Raising:

Raising personal qualities (hard work, the need for independent work);

Upbringing the need to receive versatile knowledge, in visiting cultural events, concerts, theaters);

Education in students feelings of respect, interest in rich cultural heritage of Russia.

Practical:

Selection of musical, literary, artistic material for a conversation concert dedicated to the 150th anniversary of his birth;

Preparation for a concert conversation.

Socio-significant:

Forming a musical taste;

Love for music;

Desire to listen and execute it.

Stages of project implementation

The project work includes the joint activities of teachers and students and is distributed in stages as follows:

Stages stop	Pedagogue activities	Activities of students
(prepared	1. Formulate the problem (target) - when setting a goal, the project is also determined; 2. introduced into the plot situation; 3. Problem task	1. After the problem; 2. Look into the storyline; 3. Tasks; 4. Supplement project tasks.
(main)	4. Help in solving problems; 5. Help plan activities; 6.Ganize activities 7. Practical assistance in the selection of material, concert numbers are preparing;	5. Work on concert lecture material; 6. Formation of specific knowledge, skills, skills; 7. Coordination of work with all project participants.
(final)	Prepare and conduct a conversation-concert dedicated to the 150th anniversary of his birth;	Present to listeners product activity.

		Project development.
(prepared	September 2016	1. Tasks of teachers - creating conditions, determining the purpose and objectives of the project; 2. Distribution of musical numbers between the participants of the conversation - the concert; 3. Definition of project implementation periods.
(main)		1. Work on concert lecture material, the formation of specific knowledge, skills, skills: a) the development of students of the musical material, b) collection and systematization of information for the lecture component of the project, c) the overposition of paintings for figurative perception of the musical image. e) work on the presentation 2. Conducting rehearsal events.
3 Stage (final)	April 2017	Conducting a conversation - a concert dedicated to the 150th anniversary of his birth; Evaluating the degree of achievement of the goals. Evaluation of the quality of the result.

Forms of activity

1. Individual work. Formation of the motivation of participants.

2. Independent work. The development of students' skills meaningfully and independently work at home, observing the sequence and course of this work built in the lesson together with the teacher.

3. Collective work. Definition of the topic of the project, its goals and tasks, the search for the information necessary to start the design of information, the development of an idea implementation plan. Registration scenario conversation - concert.

4. Conduct a concert conversation.

Form of project implementation

Thematic conversation is a concert for students and parents of deh.

Scenario conversation - concert

"Samuel Moiseevich MaikaPar.

Children's music.

Slide №1

Good afternoon, dear guys, dear adults!

Today we gathered in our hall for acquaintance with the work of the composer, who this year the anniversary date is 150 years since the birth. (1867-1938).

Many composers write music that adults and children are listening to the same enthusiasm. But there are composers that all their creativity devoted to the creation of only children's music, and such that children could not only listen, but also to fulfill themselves. The name of this composer - Samuel Moiseevich Maikapar.

His name, composer, author of numerous works for children and young people enjoys wide fame in Russia and abroad. Thanks to artistic advantages, an understanding of children's psychology and taking into account the characteristics of the children's game apparatus, the Pieces of S. Maikapara firmly entered the repertoire of young pianists. Children like these bright, figurative and at the same time simple on the texture of the work, and will not be an exaggeration to say that there is not a single young musician who did not play or who did not hear in the fulfillment of the comrades of any play Samuel Moiseevich Maikapara.

And today we will start our concert with speeches Bondareva Nastya and with a play from the collection "First Steps",which is addressed to appear from his name, the smallest children just starting their way in music. S. Mikepar believed that the game in the ensemble is extremely developing the musical abilities of children and wrote a cycle of 16 plays-ensembles for children of preschool and younger school age.

Despite the fact that the name Samuel Moiseevich Maikapara is widely known, few people know about his life. He was born in Kherson in 1867. Samuel's musical abilities inherited from her mother, who played very well on the piano. 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

G. Mall). At the age of 11, he himself began to compose music, started the notebook, in which he recorded all his works. 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). In the family it was decided that Samuel would become a lawyer, but he refused from this career. At 34, Maikapar moved to the city of Tver, where he opened his own music school.

Slide number 2.

Then he came into his mind to write children's works that could fulfill the children themselves. So they were written, subsequently became classic, cycles of piano plays, "Little Memellites" Op.8, "Shepherd Suit" Op.15, "Puppet Theater" Op.21, "Miniatures" Op.33 and received world recognition of the Biryulki cycle Op.28.

Now there will be a few plays from this collection. (Biryulki Sat)

Slide number 3.

Biryulki - Listen to the sound of this word. What is it affectionate, musical. What does it mean? Once, a long time ago, it was a favorite player game.

Slide number 4.

The table was hung up a bunch of very small toy flames of flavored. Most often it was carved from a tree of cups, pita, launches and other kitchenware. Biryulki needed to get a small crochet, one after one, not stamping the rest. Maikapara's little plays resemble the most flames from the ancient game. Let's get acquainted with this music. What can be found among the Turel Maikapara? First of all, it is children's musical portraits.

Slide number 5.

Here is a little shepherd. With a clear sunny day, he came out on the summer blooming meadow near the river. So that it was not boring to graze my herd, he cut off his coat and made a sweater out of her. Light, joyful tunes rang over the meadows. In the middle of the melody, the melody resembles a shepherd dance.

Now you will hear a "romance", which also entered the collection "Biryulki".

Very expressive and deep in the content of miniature . There are different moods here. Melody pensive song melody itself, dreamy, sad. It sounds slower than the accession, and ends in each phrase directed up with questioning intonations. The accompaniment resembles the sound of the guitar.

"Romance" isp. Student of Grade 6 Odesov Kolya

Waltz is one of the most romantic and favorite dances, combining generations and immersing us into a state of some euphoria. The word "waltz" means "rotational" and, indeed in the dance, spinning elegant movements prevail. Waltz genre love many composers. No exception and S. Makapara.

Today we will listen to two walts.

Slide number 11.

Elegant phrazing, accompaniment is very soft and easy. As if the fabulous heroes Cinderella and Prince are dancing.

Ever soon came the evening

And the hour long-awaited

To me in a gilded carriage

Go to the fairy ball.

Nobody in the palace knows

From where and how i'm calling

But only midnight will come,

I will come back home.

"Waltz" isp. Pupil 2 Class of Cover Anya

Slide number 12.

"Waltz" - Gentle, touchingly graceful. Imagine a picture of the ball, the Christmas tree, a holiday.

Waltz Snowflakes - New Year's Eve ...

Month in the cradle of clouds.

This evening - the expectation of the meeting,

Days of happy, joyful hours.

span. Pupil Grade 6 Corepanova Lisa

Slide number 13.

And now we will be transferred at another time of the year.

I think everyone saw how spring water streams large, the powerful flow is poured into the river. Have you seen? What do you think it is possible to portray it in music? What should be the music? Let's listen to how it portray Samuel Mikepar. "Storm stream" - a play of an etude character. The texture of the play, distributed between the two hands, allows you to achieve a rapid pace and bright dynamics, which depicts the sounds of the power of the seeming water.

"Storm stream" isp. Lodilova Sonya

Let us turn to another cycle of the "Twenty Pedal Preludes".

Preludes were composed in 1937, at 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 pedaling of students. At the heart of these plays lies not only the task of learning the skills of using pedals in various cases, but also upbringing the student of the relevant auditory control.

"Twenty Pedal Preludes" are light piano plays.

Slide number 14.

Spring for a long time

From winds and so

And today straight

Sleeping on puddles,

Chasing thale snow

With gomon and ringing to fasten meadows

Velvet green.

"Prelude" №19,f.- moll. , Span. Student 4 grade Polyoscian Natasha.

Slide №15

Forest, exactly led painted,
Purple, gold, crimped,
Cheerful, Moto Wall
It is standing over a light polar.

Birches yellow thread

Shine in blue lazuries,
Like tower, Christmas trees are darker,
And between maples blue
Then there, then here in the foliage
Summets in the sky, that shell.

Ivan Bunin

"Prelude" № 2,e.- moll., Span. Pupil 6th grade Filippova Yana

During the reasons of the music school, Tver Makapara writes cute and elegant "eighteen little novelter for piano."

Among the piano heritage of Maikapara there is also a lot of plays, published for the first time relatively recently and not even in a wide pianistic use. In particular, his "smallmeys" (light plays for piano), who have seen the light after writing them, belong to them. Some compositions of the composer and the Donyn are stored in the archive.

Novellett (Ital. - A small story, diminishing from Novella - story, novel) - a small instrumental play of a narrative nature. The name "Memeletta" for the first time applied Robert Schuman. Although Schumann pointed to the traits of the story in his e-mail, the very name of the "Noveltal" he made not from the novel, but from the name of the famous English singer Clara Novello.

Slide number 17.

Sounds a play from the "Little Memerillets" cycle "in the forge"

I am a blacksmith merry,

Recreation do not know.

Hammer heavily

Sparks carve.

Boom Boom Boom!

Boom Boom Boom!

There are horseshoes for me.

Boom Boom Boom!

Boom Boom Boom!

Sick the horse

"In the forge" isp. Miroshnichenko Dasha, student grade 4.

Slide №18.

Toccata (from IT. The words Toccare - touch, push) - in the old music of the play, assigned for keyboard tools (mainly organ). The characteristic feature of the Toccati is that the well-known technical figure is constantly being carried out in the play in the left, then in his right hand.

Translated from the Italian word "Toccata" means "touch", "Blow". Original Tokcat for keyboard tools was composed

as an entry (prelude) to cholar, and then it becomes an independent concert genre of secular music.

Tokattina is a small size tokatta

"Tokkatina" isp. Makhneva Marina, student of 4Klassa.

Slide №19

In the musical heritage of the composer there are works of different forms. These are polyphonic plays 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 in the changing repetitions of the theme. In instrumental music, the topic of variations is usually one-haired song melody or a small play. Variations are one of the most ancient musical forms that exists in the folklore of all nations.

Following each other, V. form a cycle, which can be an independent product or part of a multitude of essay (sonates, symphonies, etc.).

"Variations to the Russian folk song". Ladilova Sonya

aikapar written more than 200 plays for children and young people. Most of them are included in the repertoire of novice pianists. These works are written on accessible to young performers and at the same time a high artistic level.

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. "

I think these beautiful words can be attributed to personality and his work.

Finish today's meeting we want a play "Children's dance" in the Spanish, Zobnina Ulyana, student of grade 4.

Do not comprehend beauty!
The soul sings and rushes.
And the sounds of wilaments
With the movement goes away!
On the stage again a celebration:
Our children dance.
In the drawing of dance witchcraft!
Forget everything in the world!

Thanks for attention. To new meetings.

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.