Price: 0 руб.
DOI:https://doi.org/10.25807/PBH.22225064.2020.58.115.122
The paper considers etudes op. 23 by A. Rubinstein, which the com-
poser created in the period of developing his piano mastery. The opus
under study laid the foundation of Russian concert piano etude and
was a precursor of compositions by P. Tchaikovsky, S. Rachmaninoff,
A. Scriabin etc. The author reveals the essence of A. Rubinstein’s
innovative principles for developing piano technical skills. The author
emphasizes the role of the given opus in educating a generation of
Russian pianists. The paper provides the analysis of each etude by
Rubinstein in terms of its playing and methodological positions. The
author draws a conclusion that today’s musicians and teachers, by
turning to the forgotten past, can spot a number of interesting ideas
and enrich their repertoire.
Keywords: pianist, virtuoso, composer, epoch, history, modernity, opus, teacher,
piano, stage, technique, etude, method, repertoire, composition, improvisation, exercise.
REFERENCES
1. Barenboym L. Anton Grigor’yevich Rubinshteyn. T. 1. 1829–1867. L.: Muzgiz,
1957. 455 s.
2. Gofman I. Fortepiannaya igra. Otvety na voprosy o fortepiannoy igre. M.: Klas-
sika — XXI, 2002. 188 s.
3. Kogan G. Voprosy pianizma. M.: Sovetskiy kompozitor, 1961. 461 s.
4. Martinsen K. Individual’naya fortepiannaya tekhnika na osnove zvukotvorcheskoy
voli. M.: Muzyka, 1966. 220 s.
5. Metner N. Povsednevnaya rabota pianista i kompozitora. M.: Muzyka, 2011. 62 s.
6. Mysli i aforizmy o fortepiannom iskusstve. M.: Klassika — XXI, 2008. 159 s.
7. Rakhmaninov S. Literaturnoe nasledie (v 3 t.). M.: Sovetskiy kompozitor, 1980.
T. 3. 360 s.
8. Feynberg S. Pianizm kak iskusstvo M.: Muzyka, 1969. 598 s.