He studied music in Taganrog under G. Moll, then in St. Petersburg, where in 1891 he graduated from the law faculty of the university and in 1893 - from the conservatory in the class of php. (Chezi) and compositions (Soloviev).

After graduating from the conservatory, he improved with Leshetitsky in Vienna, after which he performed in concerts in Berlin, Leipzig, St. Petersburg, Moscow, etc. Lives in Moscow.

Published his plays for fp. (op. 2, 3, 4, 5,), romances (op. 1) and the book "Musical ear" (Moscow, 1900; research on the nature and meaning of musical hearing, criticism of modern methods of its development and proposal of a new method that gives equal importance to both the development of pure intonation and the refinement of the sense of sound paint and nuance). (Riemann) Maykapar, Samuil Moiseevich b. Dec 18 1867 in Kherson, d. May 8, 1938 in Leningrad.

Composer.

Graduated from St. Petersburg. cons. in 1893 by class. f-p. I. Weiss (previously studied with V. Demyansky and V. Chezi), in 1894 in class. compositions by N.F.Soloviev.

In 1894-1898 he trained as a pianist with T. Leshetitsky in Vienna. He performed as a pianist.

In 1901-1903 hands. muses. schools in Tver. In 1903-1910 he lived and worked in Germany.

In 1910-1930 he was a teacher in Petrograd. (Leningrad) cons. (since 1917 prof.). Vol .: Strun. quartet;

F-p. trio; for unison skr. and f-p. 4 hands - suite Labor songs of the peoples (by K. Bücher); for skr. and f-p. - Light Sonata, Song of the Day and Night, Bagateli; for p-p. - Sonatas (C minor, A minor), Variations, Three Preludes, Eight Miniatures, Lyric Variations, Small Suite in the Classical Style, Small Novels, Two Pieces, Fleeting Thoughts, Fantastic Variations, Two Octave Intermezzos, Twelve Hand Preludes without stretching per octave , Shepherd's suite, Twelve album leaves, Poem in six stanzas, Barcarolle, Harlequin's Serenade, Puppet theater, Grand Sonatina, Lullabies, Two tender notes, Spillikins, Little suite, Staccato preludes, Miniatures, Second sonatina, Ballad and, Fughetta, Twenty Pedal Preludes; for p-p. 4 hands - First steps; for voice and piano. - romances to lyrics. German poets, N. Ogarev, G. Galina, K. Romanov and others; cadenza to Mozart's Concerto for 2 p. with orc. in B flat major. Lit. cit .: Ear for music, its meaning, nature, features and method of correct development.

M., 1890, 2nd ed. Petrograd, 1915; The significance of Beethoven's work for our time.

M., 1927; Years of study.

M. - L., 1938; How to work the piano. Conversations with children.

L., 1963. Maikapar, Samuil Moiseevich (born on December 18, 1867 in Kherson, died on May 8, 1938 in Leningrad) - Sov. composer, pianist, teacher, musician Writer.

He began to study music at the age of 6 (lessons from G. Moll). In 1885 he moved to St. Petersburg and entered the conservatory, where his main teachers were I. Weiss (fp.), N. Soloviev (composition).

At the same time I studied law. Faculty of the University (graduated in 1890). After graduating from the conservatory until 1898, he improved as a pianist under his hands. T. Leshetitsky.

From 1898 to 1901 he performed in concerts with L. Auer and I. Grzhimali.

In 1901 he founded the music. school in Tver (now Kalinin) and headed it until 1903. From 1903 to 1910, living predominantly. in Moscow, was engaged in concert activities, regularly gave concerts in Germany.

He took an active part (secretary) in the work of the Moscow scientific and musical circle headed by S. Taneyev.

From 1910 to 1930 he taught piano at the St. Petersburg-Petrograd-Leningrad Conservatory.

He initiated the performance in concerts of a cycle of 32 Beethoven sonatas (for the first time in 1927). A multi-talented musician, M. was known as the author of php. plays for children and youth.

In particular, his cycle of piano miniatures "Spillikins" became very popular. Cit .: camera-instrumental. ans. - quartet, fp. trio, "Light Sonata" for skr. and fp .; pieces for fl., including Sonata, Ballad, Poem, several. cycles of variations, 2 series of "Fleeting Thoughts", 2 octave intermezzos, etc .; St. Fp 150 plays for children, including "Spillikins" (26 plays), 24 miniatures, 18 small novellas, 4 preludes and fughetta, 20 pedal preludes, etc .; pieces for skr. and fp .; romances; the book "Ear for Music" (1900, 2nd ed. 1915), "The Significance of Beethoven's Creativity for Our Time", with a preface.

A. Lunacharsky (1927), "Years of Study and Musical Activity", "A Book about Music for Senior Schoolchildren" (1938), etc.

NGMBOUODOD Children's Music School named after The city of Nefteyugansk.

METHODOLOGICAL REPORT

"WITH. Maykapar and his piano cycle "Spillikins"

Compiled by:

teacher

piano department

S. Maikapar and his piano cycles.

Cycle "Spillikins"

S. Maykapar was born in Kherson in 1867, his childhood years were spent in Taganrog, then Maykapar entered the St. Petersburg University at the Faculty of Law, which he graduated in 1891 and at the same time at the St. Petersburg Conservatory, where he studied in two specialties: composition and piano. After graduating from the conservatory and on the advice of Anton Rubinstein, Maykapar went to Vienna to improve himself with the famous pianist Professor Theodor Leshetitsky. From 1903 to 1910 Maykapar lives in Germany. He gives concerts, composes, and is engaged in scientific activities. In 1910, Maykapar received an invitation from A. Glazunov to teach at the St. Petersburg Conservatory. In 1930, Maikapar left the conservatory and devoted himself entirely to creative work - composition, performance, scientific works. Maykapar died on May 8, 1938.

A complete Maikapara collection can fit in one volume. Although their number is very large (over 200 titles), most of them are piano miniatures that fit on one or two pages. Maykapar's plays were published in Germany, Austria, England, France, America. The catalog of Maikapar's compositions contains piano pieces, romances and compositions for chamber ensemble.

Maikapar began composing at the age of 14-15 and continued throughout his life. And it was in the field of children's music that the name of S. Maikapar became widely known in the country. He found musical images and intonations close to the child; with the help of his plays for beginners, he teaches children to love music, opening up wide opportunities for their own creativity and the path to knowledge of the beautiful art of sounds.

In vain would we look for bright stylistic features in Maykapar's children's plays. Their value is not in any unique individual features of melody, harmony, etc., but in the combination of all elements, each of which may not be so significant. A clear sense of purpose, spontaneity of expression, combined with a great performing and pedagogical experience, helped Maikapar to become one of the founders of Russian children's piano literature. He developed an integral system for the development of piano technique. His cycles of piano works, addressed to young pianists, are built according to a completely definite plan, covering one or another section of piano technique or a type of pianistic difficulty. At the same time, the principle "from simple to complex" is strictly observed. According to this plan, a cycle of 12 hand preludes op-14, two octave intermezzoor-13, staccato preludes op-31 were created. The tasks in the collection of ensemble pieces “the first steps of op-29 in the piano in 4 hands. A clear pedagogical plan is visible in the famous cycle "spillikins" (it is associated with familiarizing the student with all 24 tonalities).

If we take Maikapar's work in the field of small forms as a whole, then Grieg is the closest to him both in form, and partly in spirit. Writing children's plays, Maykapar proceeded from the conviction that the general requirements of young artists are the same “as those of adult performers; this is the requirement of imagery, colorfulness, then simplicity and artlessness of compositions. I gave this site the best strength of my creativity. "

The qualities that are characteristic of Maykapar as a "children's" composer: vitality and imagery of the content (no artificiality, deliberateness, artificiality), sincerity and emotionality, simplicity and laconism, completeness of form, organic connection with the instrument.

Here is how Maikapar categorized the plays according to their content:

Pictures of nature:“In the morning” Op. 15 No. 1, “in the evening”, “night”, “autumn”, “echo in the mountains”, “in the spring”, “clouds float” Op. 23 No. 24, “by the sea at night”, “in the fog "," Dewdrops "," quiet morning "," stormy stream "," starry night "Op. 33 No. 19.

Onomatopoeic plays:“Flute”, “in the smithy”, “musical clown” Op. 16 No. 6, “in the war”, “music box”, “friendly work”, “cavalry is coming”, “aeolian harp” op. 33.

Figurative plays: Lullaby Op. 8, Italian Serenade Op. 8, Mermaid, Dance of the Clowns, Op. 21, Catching Butterflies, in the Garden, Orphan, Shepherd, Fleeting Vision, "Moth", "lullaby", "song of sailors", "seven-league boots", "on the skating rink", "rider in the forest", "butterfly" Op. 33 No. 8.

Plays of Mood and Feelings:“Sad Mood”, “Complaint” Op. 15, “Dream” Op. 16, “Separation”, “Remembrance”, “Song of the Troubadour”, “Anxious Minute”, “Funeral March”, “Meditation”, “Long Road” ”,“ Invocation song ”,“ elegy ”op. 33,“ merry game ”op. 33,“ dramatic excerpt ”.

Dancing: Gavotte Op. 6, Tarantella, Waltz, Minuet Op. 16, Polka, Mazurka Op. 33.

Narrative music:“Fairy tale” Op. 3, “Romance”, “Dialogue” Op. 15, “Stepdaughter and Stepmother” Op. 21, “Lullabies” Op. 24 with Nos. 1-6, “Legend”, “Scary Story”, “ a sailor's story, Op. 33.

Music titles: “Children's play”, “Prelude and fughetta”, “Operetta”, “Melody” Op. 8, “Album Leaf”, “Nocturne” Op. 8, “Scherzino” Op. 8, “Little Rondo”, “Prelude Op. 16, Variations on a Russian Theme, Fughetta, Op. 8, Sonata, Op. 27, etc.

The overwhelming majority of Maykapar's piano pieces are programmatic pieces, this is explained by the desire to awaken the imagination of children with the help of their characteristic names, that is, by associative comparison of sound images with phenomena and emotions well known to children. Maykapar concretized the content of the plays, he realized the special need to create children's plays for beginners, which was done with exceptional success in the "spillikins" cycle.

Spillikins.

The cycle of piano pieces for children by S. Maikapar "Spillikins" is one of the classics of the pedagogical repertoire and is on a par with such collections as "Notebook of Anna Magdalene Bach", "Children's Album", "Album for Youth" by F. Schumann. Created in 1925-1926, the Spillikins cycle is always loved by both young musicians and their teachers. The pieces of the collection are distinguished by everything that is characteristic of true masterpieces - regardless of whether it is a monumental work or a miniature - inspiration, perfect harmony of form, perfect finishing of details. Now, few people know what spillikins are. Once upon a time it was a very popular game among children: a handful of chopped straws, put on the table with a tedle; the players pull out, alternating one by one without shaking the heap. "Spillikins" is a suite that includes piano pieces of the most varied content. It consists of six notebooks of four plays each (the last notebook has six plays). It is interesting to compare this collection with cycles, as well as “H. T.K "Bach," Spillikins "pieces in all 24 keys. However, the constructive principle of construction of the "spill" is somewhat different: Series I (notebooks 1 and 2) from C to 3 sharp; in series II (notebooks 3 and 4) from C major to 3 flats; Notebooks 5 and 6 cover pieces in keys with 4, 5, 6 characters. Thus, despite the fact that there are 24 keys in total, and 26 pieces, since the keys C and a-minor as the starting points of movement to the sharp and flat sides are repeated twice. Realizing how important imagery is for young musicians, Maikapar took very seriously the search for the brightest possible names for the pieces; these were not always the first titles of plays that came to mind. So, in the original version, "anxious minute" was called "anxiety", "moth" - "elf", "legend" - "dreams", "in spring" - "baby". Instead of "gavotte", the play "Moonlight" was initially conceived, although the music of this play does not give grounds for such an illusion. Some plays appeared, as the drafts show, immediately in finished form, while others were revised and revised. So the "little commander" did not appear at once. First, “continuous work” was born. She was the melodic seed for the "little commander". “The miniature f-moll is now“ seven-league boots ”- according to the original idea, it had a completely different musical idea.

The themes of Maikapar's plays are always very expressive. They are characterized by a bright, catchy melody, usually of short duration. The "song of the sailors" is energetic, the tune in the "shepherdess" is technical. Each play is unique. Its name is not an accidentally pasted label, but a definition of the content, which makes it possible to unfold the creative imagination of a young performer. The merit of the plays lies in the thematic material itself and less in its development. He resorts to contrasting comparisons, and if they are not needed, then repeating phrases diversify by changing the harmonic background, the accompaniment figure, and changing the register. The harmonies in the pieces are extremely simple.

Very often Maykapar resorts to polyphony, if at the beginning of his career he used the methods of polyphonic writing rather intuitively, then later he came to the conviction that polyphony is a necessary condition for creating a truly piano piece.

Maikapar did not forget about the small size of the child's hand. Nowhere in his plays for children do we find one-handed octaves or wide chords. The octave doubles he meets are always played with two hands. Extensive use of piano registers, associated with sweeping, complete freedom of movement of the hand and even the body, within the entire range of the instrument. Maykapar very often and skillfully resorts to this technique. Already the direct application of one register or another gives the corresponding artistic effect (high register - "moth", "dewdrops"; middle melodious "romance", "meditation"; low "funeral march", etc.). Moving within the same piece of any passage, phrase or even a separate chord from one register to another gives a different coloring to the sound. Combining transfer with pauses, maintaining the duration of the sound, barely noticeable changes in strokes, dynamic shades, etc. Maykapar achieves an increase in the semantic meaning of individual "pieces", emphasizes mood changes, etc. The use of registration in his plays is one of the most effective techniques piano expressiveness. His pieces are always accompanied by a clear indication of the tempo of the performance, often supported by the designation of the metronome. The composer attached great importance to tempo indications, correctly considering that they give an idea not only in the speed of movement, but also in its character. Strokes, dynamic shades and other designations appeared in an inextricable connection with the musical text. By fixing the musical signs on paper, the composer embodied at the same time the performing concept, providing for the accuracy of its implementation. The only thing left for the performer of Maykapar's plays is to follow his instructions. In this case, they will maximize the artistic performance. Maikapar always has legato and staccato (light and heavy), portamento, extension signs above the note, accents, etc. The leagues are always indicated at the beginning and end of the phrase, and dynamic symbols are signs of acceleration and deceleration of movement (using Italian terminology) is always affixed exactly where it should begin and where it should end. It is impossible not to note the peculiarities of the designation of the fingering, put down by Maykapar in his plays, attaching great importance to it and the correct attitude towards it. Maykapar adhered to exceptional accuracy in the designation of pedalization, considering it an effective means of artistic performance. The use of the pedal in his plays is very diverse and always justified by artistic goals. Unfortunately. Even teachers do not pay enough attention to the issues and designations of pedalization in Maykapar's plays, and they do not attach the importance that the composer attached to them.

I would like to draw special attention to the fact that the collection of "spillikins" is a cycle of plays of different characters, that is, it has an artistic meaning as a whole. And although, of course, it is difficult to expect it to be performed by young musicians in its entirety, as far as the cycles of inventions and symphonies of Bach, the HTK are not often performed in full, according to the original idea of ​​the "spillikin" is conceived as a single work. Everyone will easily be convinced of this if he realizes the peculiarities of the construction of the cycle (tonal plan) and plays the pieces one after the other: the appearance of each next one sounds like a surprise, and not a dissonance with the previous one. It is quite obvious that only a great master could create a harmonious suite of 26 pieces.

Writing music for children is a very necessary, honorable, but not an easy task. Belinsky wrote “we need a grace-filled, loving, meek, melodic, simple-hearted soul; a sublime mind, educated, vivid imagination, vivid poetic fantasy, capable of presenting everything in animated rainbow images. "

Literature.

1. Samuel Maykapar and his piano cycles. "Classic" 2009

2. Portraits of pianists. D. Rabinovich. M., 1963

3. The initial period of learning to play the piano. , 1989

In modern conditions, the issue of educating the artistic culture of children is quite acute. Music is one of the most accessible spheres that allow you to broaden your horizons, raise your cultural level, and educate a moral personality. Music accompanies children everywhere. They hear it in kindergarten, school, institutions of additional education for children. She surrounds children at home and on the street. However, the music is different. Widespread modern music often does not carry an aesthetic and semantic load, therefore it is necessary to introduce children to the traditions of classical musical education. Children should get acquainted with the most striking examples of classical music. Knowledge of the biography of outstanding composers, their work contributes to both the development of motivation and the broadening of horizons. In the process of listening to classical compositions, studying the main musical genres, musical and expressive means and getting to know the life of great musicians, it is more than likely that interest in subsequent education will increase.

playing instruments, performing works of classical music.

Concert activity of students gives them the opportunity to show their temperament, imagination, develops the skills of mastering the colors of sound, allows them to feel like a real artist at the instrument.

Relevance of the project: Active involvement of students in the organization of systematic and planned musical educational work, in their mastering of 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 whose piano heritage there are many pieces that were published for the first time relatively recently and have not yet entered into widespread pianistic use, is also relevant.

Target:

Introduction of children to the creative heritage of the composer.

In this regard, we set ourselves the following tasks:

Educational:

Students gain experience in creative activity and public speaking, the ability to perform musical works at a sufficient artistic level - in accordance with stylistic features;

To deepen knowledge about the work of the composer S. Maikapar;

Developing;

Development of artistry and musicality;

Expanding the musical horizons of students by familiarizing themselves with the works of the composer;

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

Popularization of Music for Children S. Maikapara;

Upbringing:

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

Raising the need for obtaining versatile knowledge, in attending cultural events, concerts, theaters);

Fostering in students a sense of respect, interest in the rich cultural heritage of Russia.

Practical:

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

Preparing for a conversation-concert.

Socially significant:

Formation of musical taste;

Love for music;

The desire to listen and perform it.

Stages of project implementation

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

Forms of activity

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

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

3. Teamwork... Determining the theme of the project, its goals and objectives, finding the information necessary to start designing, developing a plan for the implementation of the idea. Design of the script of the conversation - the concert.

4. Conducting a conversation-concert.

Project implementation form

Thematic conversation - a concert for students and parents of the Children's Art School.

Conversation script - concert

“Samuil Moiseevich Maikapar.

Children's music ".

Slide number 1

Good afternoon, dear guys, dear adults!

Today we gathered in our hall to get acquainted with the work of the composer, who this year has an anniversary date - 150 years since his birth. (1867-1938).

Many composers write music that both adults and children listen to with the same passion. But there are composers who devoted their entire work to creating only children's music, and such that children could not only listen to, but also perform themselves. The name of this composer is Samuil Moiseevich Maikapar.

His name, composer, author of numerous works for children and youth is widely known in Russia and abroad. Thanks to their artistic merit, understanding of child psychology and taking into account the peculiarities of the children's play machine, the plays of S. Maykapar have firmly entered the repertoire of young pianists. Children like these bright, imaginative and at the same time simple in texture works, and it would not be an exaggeration to say that there is not a single young musician who has not played or heard some of Samuil Moiseevich Maikapar's songs performed by his comrades.

And today we will start our concert with a performance Bondareva Nastya and with a play from the collection "First Steps", which is addressed, as its name implies, the smallest children who are just starting their way in music. S. Maikapar believed that playing in an ensemble extraordinarily develops the musical abilities of children and wrote a cycle of 16 ensemble plays for children of preschool and primary school age.

Despite the fact that the name of Samuil Moiseevich Maikapar is widely known, few people know about his life. He was born in Kherson in 1867. Samuel inherited his musical abilities from his mother, who played the piano very well. Soon after birth, the family of Samuil Maykapar moved from Kherson to Taganrog. Here he entered the Taganrog gymnasium. He began to study music at the age of 6 (lessons from

G. Molla). At the age of 11, he began to compose music himself, started a notebook in which he wrote down all his works. In 1885 he moved to St. Petersburg and entered the conservatory, where he studied as a pianist with Benjamino Cesi, Vladimir Demyansky and I. Weiss, as well as in the composition class of Nikolai Solovyov. In parallel, he studied at the law faculty of St. Petersburg University (graduated in 1891). The family decided that Samuel would become a lawyer, but he refused this career. At 34, Maykapar moved to the city of Tver, where he opened his own music school.

Slide number 2

Then the idea came to him to write children's works that the children themselves could perform. This is how they wrote, which later became classical, cycles of piano pieces, "Little Novellets" op.8, "Shepherd's Suite" op.15, "Puppet Theater" op.21, "Miniatures" op.33 and the world-renowned cycle "Spillikins" op.28.

Several plays from this collection will now sound.

Slide number 3

Spillikins - listen to the sound of this word. How sweet, musical it is. What does it mean? Once upon a time, it was the favorite game of kids.

Slide number 4

A heap of very small toy things spill out on the table. Most often, these were cups, water lilies, rugs and other kitchen items carved from wood. The spillikins had to be taken out with a small hook, one by one, without moving the rest. Little pieces by Maykapar resemble those spillikins from an old game. Let's get to know this music. What can you find among Maikapara's spillikins? First of all, these are children's musical portraits.

Slide number 5

Here is a little shepherd boy. On a clear sunny day, he went out to a summer flowering meadow near the river. In order not to be bored with grazing his flock, he cut off a reed and made a pipe out of it. A bright, joyful tune rang over the meadows. In the middle of the piece, the melody is more like a shepherdess dance.

Now you will hear "Romance", which was also included in the collection "Spillikins".

Very expressive and deep in content miniature . Different moods are expressed here. The song melody of the romance itself is brooding, dreamy, sad. It sounds slower than the intro, and ends in each phrase with upward questioning intonations. The accompaniment is similar to the sound of a guitar.

"Romance" isp. 6th grade student Odegov Kolya

Waltz is one of the most romantic and beloved dances, uniting generations and plunging us into a state of some euphoria. The word "waltz" means "rotational" and, indeed, the dance is dominated by swirling graceful movements. The waltz genre is loved by many composers. S. Maikapar was no exception.

Today we will listen to two waltzes.

Slide number 11

Elegant phrasing, the accompaniment is very soft and light. As if the fairytale heroes Cinderella and the Prince are dancing.

Hurry up the evening

And the long-awaited hour has come

So that in my gilded carriage

Go to the fabulous ball.

No one in the palace will know

Where and what am I called,

But as soon as midnight comes

I will return to my home.

"Waltz" isp. 2nd grade student Anya Syropyatova

Slide number 12

"Waltz" - gentle, touchingly graceful. Let's imagine a picture of a ball, a Christmas tree, a holiday.

Waltz of Snowflakes - New Year's Eve ...

A month in the cradle of clouds.

This evening is an expectation of a meeting

Days of happy, joyful hours.

isp. 6th grade student Liza Korepanova

Slide number 13

And now we are fast forward to another time of the year.

I think that everyone saw how in the spring the water of the brooks poured into the river in a large, powerful stream. Have you seen? Do you think this can be portrayed in music? What kind of music should it be? Let's hear how Samuel Maykapar portrayed it. "Stormy Stream" is a piece of etude character. The texture of the piece, distributed between two hands, allows you to achieve a rapid pace and bright dynamics, which depicts the power of rushing water with sounds.

"Stormy Stream" isp. Lodilova Sonya

Let's turn to another cycle of plays "Twenty Pedal Preludes".

The preludes were composed in 1937, already 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. The basis of these plays is not only the task of mastering the skills of using the pedals in various cases, but also the education of the student in the appropriate auditory control.

Twenty Pedal Preludes are light piano pieces.

Slide number 14

Spring went by secretly for a long time

From the winds and cold

And today straight

Splashes in the puddles

Drives melted snow

With hubbub and clanging to line the meadows

Velvet green.

"Prelude" No. 19,f- moll , isp. 4th grade student Poloskova Natasha.

Slide number 15

The forest, as if we were looking at a painted one,
Purple, gold, crimson,
With a cheerful, colorful wall
Stands over a bright glade.

Birch trees with yellow carvings

Shine in the azure blue,
Like towers, Christmas trees are darkening,
And between the maples turn blue
Here and there in the foliage through
Clearances in the sky, that little window.

Ivan Bunin

"Prelude" No. 2,e- moll, isp. 6th grade student Filippova Yana

During the founding of the music school in Tver, Maykapar wrote the lovely and graceful "Eighteen Little Novellets for Piano".

Among the piano heritage of Maykapar there are also many pieces that were published for the first time relatively recently and have not yet entered the wider pianistic use. These include, in particular, his "Little Novelettes" (light pieces for piano), which were published a hundred years after they were written. Some of the composer's works are still kept in the archive.

Noveletta(Italian - short story, diminutive of novella - story, short story) - a small instrumental piece of a narrative nature. The name Noveletta was first used by Robert Schumann. Although Schumann pointed out the features of the narrative in his Novelettes, the very name “Noveletta” he produced not from the short story, but from the surname of the famous English singer Clara Novello.

Slide number 17

A piece from the cycle "Little Novellets" "In the Smithy" is played

I am a merry blacksmith

I don't know rest.

With a heavy hammer

I strike sparks.

Boom Boom Boom!

Boom Boom Boom!

I have horseshoes.

Boom Boom Boom!

Boom Boom Boom!

Bring your horse quickly

"In the smithy" isp. Miroshnichenko Dasha, 4th grade student.

Slide number 18

Toccata(from the Italian word toccare - to touch, push) - in ancient music, a piece assigned to keyboard instruments (mainly organ). A characteristic feature of toccata is that a well-known technical figure is constantly performed in the play in the left or in the right hand.

Translated from Italian, the word "toccata" means "touch", "blow". The original toccata for keyboard instruments was composed

as an introduction (prelude) to a choral work, and then it becomes an independent concert genre of secular music.

Tocattina is a small toccata

"Toccatina" isp. Makhneva Marina, 4th grade student.

Slide number 19

The composer's musical heritage includes works of various forms. These are polyphonic pieces and pieces of large form. These include the variations we will hear today.

Variations in music (from Lat. vanatio - change) - a musical form, the essence of which is in variable repetitions of the theme. In instrumental music, the theme of Variations is usually a monophonic song melody or a short piece. Variations are one of the oldest musical forms that exist in the folklore of all peoples.

Following each other, V. form a cycle, which can be an independent work or part of a multi-part composition (sonatas, symphonies, etc.).

"Variations on a Russian folk song" isp. Ladilova Sonya

Aikapar has written over 200 plays for children and youth. Most of them are included in the repertoire of aspiring pianists. These works were written at an accessible for young performers and at the same time a high artistic and musical level.

Writing music for children is a very necessary, honorable, but not an easy task. "Yes, many, many conditions are needed for the education of a children's writer," Belinsky pointed out, "you need a grace-filled, loving, meek, childlike soul; an exalted, educated mind, an enlightened look at an object, and not only a vivid imagination, but also a living poetic fantasy. capable of presenting everything in animated rainbow images. "

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

We want to end our meeting today with a play "Children's dance" in Spanish, Zobnina Ulyana, 4th grade student.

Beauty is incomprehensible!
The soul sings and breaks.
And the sounds of wondrous breadth
It will merge with the movement!
There is a celebration on the stage again:
Our children are dancing.
There is witchcraft in the drawing of the dance!
Forget everything!

Thank you for the attention. Until next time.

December 18, 1867 - May 08, 1938

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

A multi-talented musician, Maikapar was known as the author of a number of piano pieces for children and young people. In particular, his cycle of piano miniatures "Spillikins", his romances and "Musical Ear" (Moscow, 1900) won great popularity.

Biography

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

In 1885 he moved to St. Petersburg and entered the Conservatory, where he studied as a pianist with Benjamino Cesi, Vladimir Demyansky and I. Weiss, as well as in the composition class of Nikolai Solovyov. In parallel, he studied at the law faculty of St. Petersburg University (graduated in 1891).

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

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

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

Many composers write music that both adults and children listen to with the same passion. But there are composers who devoted their entire work to creating only children's music, and such that children could not only listen to, but also perform themselves.

Today we will get to know the music of one of these children's composers who lived more than 100 years ago. His name was Samuil Moiseevich Maikapar.

Samuil Moiseevich Maikapar was born in the city of Kherson in 1867. In the family, besides him, there were 4 sisters and they all studied music. Samuel inherited his musical abilities from his mother, who played the piano very well. He began to study music at the age of 5. At the age of 11, he began to compose music himself, started a notebook in which he wrote down all his works. The family decided that Samuel would become a lawyer, but he gave up this career and entered the conservatory, which he successfully completed.

In 1901, Maykapar moved to the city of Tver, where he opened his own music school. Then the idea came to him to write children's works that the children themselves could perform.

Various small pieces by the composer for young, just beginning performers can be called miniatures. They, like photographs in an album, are combined into cycles. We will get acquainted with one of such cycles today. It's called Spillikins.

Listen to the sound of this word. How sweet, musical it is. What does it mean? Once upon a time, it was the favorite game of children. A heap of very small toy things - spillots - poured out on the table. Most often, these were cups carved from wood, jugs, rugs and other kitchen items, ladders, hats, sticks and so on.The spillikins had to be taken out with a small hook, one by one, without moving the rest.

Little pieces by Maykapar resemble those spillikins from an old game. Let's get to know this music. What can you find among the spillikins of Maikapara?

First of all, these are children's musical portraits.

Here is a little shepherd boy. On a clear sunny day, he went out to a summer flowering meadow near the river. In order not to be bored of grazing his flock, he cut off a reed and made a pipe out of it. (A pipe is a small pipe). A bright, joyful tune rang over the meadows. In the middle of the song, the melody became more like a shepherdess dance, and then his pipe played again.

And now, after listening to the next miniature, we will see little commander... He is very belligerent, courageous and brave. In a clear voice, he gives orders energetically. We do not know who they are for - tin soldiers, stuffed animals or kid friends. But the music convinces us that any order of such a commander will be carried out without fail.

In the next play, the music is very sad, quiet, plaintive, Listening to it, you want to feel sorry for someone, sympathize, cry. It seems that the child is complaining about his difficult life, about his sad fate. Samuil Maikapar called this miniature - "The Orphan"

Alan Huckleberry, piano


IMTA Level C3

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

These are the completely different portraits, not similar to each other, presented to us by the composer. In each of them, not an adult, but a child is guessed. And the music told us about each in its own way.

We will now turn our attention to musical landscapes. What is a "landscape"? These are pictures of nature: "The clouds are floating", "In the spring", "Autumn", "On the skating rink". The musical landscapes of Maykapar are dedicated to the four seasons.

In Maykapar's Spillikins, there is no play called Summer, but this time of year is easily recognizable in some miniatures. For example, "In the garden". Listening to her, you vividly imagine a warm summer day, a playground, a shady garden. Let's listen.

While playing in the garden, the children suddenly saw ... Who do you think? Is it a butterfly or a bird?"Moth" ...This is what Maykapar called this work. A moth is much smaller than a butterfly, it does not have such large wings, so it is not so graceful and graceful. But it is light and fast. After listening to this work, we seemed to see how a moth flies from one flower to another.

I think that everyone saw it, how the water in a large, powerful stream pours into the river. Especially in the spring. Have you seen? In the play"Stormy Stream" Maykapar depicted 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 ourselves, sometimes we see them in a dream. Samuil Moiseevich came up with small fairy-tale plays, such as: "Fleeting Vision", "Fairy Tale", "Legend" ...

Who among us doesn't like dancing? We like children and youth, modern and ballroom dancing. We enjoy watching ballet, and this is also a dance. Dancing is a very exciting, enjoyable and beautiful activity. Samuil Moiseevich Maikapar wrote many dances. it polkas, gavotas, minuets, waltzes.Waltz is a ballroom flowing dance that is over 200 years old. Word"Waltz" in translation means "spinning, spinning." This dance is dominated by swirling graceful movements.

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

Maykapar "Polka"

Isp. Katya, 6 years old, 10 months (Reporting concert of the Music School of the Gas)

A multi-talented musician, Maikapar was known as the author of a number of piano pieces for children and young people. In particular, his cycle of piano miniatures “ Spillikins ".

Spillikins, cycle of pieces for children, Op. 28 (1900)

• 1. In the kindergarten
• 2. Orphan
• 3. Shepherd boy
• 4. Autumn
• 5. Waltz
• 6. Anxious minute
• 7. Polka
• 8. A fleeting vision
• 9. Little commander
• 10. Fairy tale
• 11. Minuet
• 12. Moth
• 13 music box
• 14.March
• 15 lullaby
• 16 the sailors' song
• 17.Legend
• 18 Prelude and Fughetta
• 19 echo in the mountains
• 20.Gavot
• 21. In spring
• 22 seven-league boots
• 23. At the skating rink (Toccatina)
• 24 the clouds are floating
• 25 romance
• 26. Rider in the Forest (Ballad)

Performed by Anna Wang (14 year old)Anna Wang, 14 years old(Recorded on May 9, 2010 in Vancouver, BC, Canada)

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

(based on the fairy tale by G. Kamennaya)

Once, while cleaning up the attic, Natasha's mother found an old doll with a peeling nose in a dusty dress. She had no shoes on her feet. Natasha pasted chestnut braids on the doll, sewed a new chintz dress and small oilcloth shoes. But, although now she had slippers on her feet, the doll was called Barefoot. The girl saw her like this for the first time. Natasha fell in love with a barefoot. Every morning she took her out for a walk in the garden. The puppy Sharik always played with them. And what kind of games they did not play!

And in the evening, tired of the games, the doll powerlessly lowered its rag hands, bowed its head on Natasha's shoulder. Then the girl laid her Barefoot in a wooden crib, covered her with a blanket, sang a lullaby

The sandal liked this life. But then one day, for her birthday, dad gave Natasha a new doll. She was so beautiful! She wore a pink transparent dress with lush ruffles, patent leather shoes with buckles on her feet, and a hat with ribbons on her head, like a water lily flower. The beautiful doll was named Lyalya. She sat on the sofa, among the embroidered pillows, and did not speak to anyone. Of course, the doll was very imaginative. When other toys began to play, she arrogantly declared: “Quiet, my head hurts!” The toys were offended and stopped paying attention to the asshole.

But Natasha Lyalya really liked it. In the morning, she took an elegant doll in her arms, gently pressed it to her and whirled around the room with her.

And the more affectionate Natasha and Lyalya were, the sadder and sadder Barefoot became. She did not have such a beautiful dress, hat, and she could not open and close her eyes. Barefoot cried more and more often, huddled in a corner. "What are you whining," Lyalya once told her. I would have left here long ago. So I'll take it and complain to Natasha, and they'll throw you back into the attic. " Barefoot cried even harder from resentment and decided to go far into the forest and stay there. She said nothing to anyone, jumped out of the window and ran farther and farther from her house. It was dark and scary in the forest.

When the dawn was already glowing over the trees, Barefoot went to the edge of the forest. She looked around and saw on a branch the master of the Silkworm, and on the trunk of a tree - a fluffy Squirrel with a nut in its tenacious legs. The barefoot shared her grief with the forest dwellers. The animals conferred and decided to help the doll - to make it as beautiful as Lyalya. The silkworm sewed her a beautiful dress, and Squirrel gave her two walnut shells instead of slippers. Heron also brought a gift - it was a lily hat. Barefoot's dream came true: she became as elegant as the Lyalya doll. The animals frolicked around the doll, calling her to play, but she was afraid to get her dress dirty. And the animals ran away.

Everyone in the forest was busy with their own business. The silkworm wound its cocoons in thread. The squirrel stored nuts for the winter. The sandal became sad. She did not know what to do, and she was not used to idleness. She remembered the house, Natasha, toys. "I had no idea that I would be so sad without you," thought Barefoot. Why do I need such a beautiful dress if Natasha does not see it? I am an ungrateful doll. Forest". The barefoot rushed straight through the thorny bushes. The grass grew thicker and taller. Suddenly a wind blew, lightning flashed, large drops of rain fell on the leaves. All the animals hid in burrows, and Barefoot was left alone.

And the rain kept pouring and pouring. A lily hat caught on a branch, the wind tore off the dress, the streams of water washed off the shoes from the feet. Spattered with mud, chilled from the cold, Barefoot finally saw the familiar roof. But in front of the house, she slipped and fell. She woke up from the loud barking of Sharik. It was he, her faithful comrade, who all day, when the loss was discovered, did not find a place for himself and went in search. The ball happily licked Barefoot on the cheek and brought her home. Natasha was very happy. Even Lyalya smiled at Barefoot. And how happy all the other toys were! The doll was cleaned and dressed in a washed chintz dress. And in the evening all the toys arranged a real ball in honor of Barefoot, and Natasha danced with her, as before.

The sandal was happy again. Only now she fully understood that friends are more precious than shiny outfits.