Chopin's creative heritage amazes with the richness of musical genres and musical forms. Chopin wrote sonatas and concertos - works of large forms, so characteristic of Mozart and Beethoven. He wrote a lot of works in genres that composers of the classical era did not turn to. And although these genres, for the most part, existed before Chopin, the history of musical culture rightfully connects them with his name. Chopin raised such genres as polonaise, mazurka, ballad, nocturne, and etude to enormous artistic heights.

In the field of musical form , as in all other elements of his creative style, Chopin is a bold innovator. Without avoiding traditional structural schemes, Chopin interprets them extremely freely, creating essentially new, deeply original musical forms. But Chopin always preserves the harmony, completeness, and strict logic of thought development characteristic of the best examples of classical music.

The structure of Chopin's major works deserves special attention. Let us first turn to the most significant cyclic works - the B-toll and H-moll sonatas.

· Like most classical sonatas, they are four-movement cycles.

· In the first parts Chopin does not deviate far from the usual scheme of sonata al1egro, preserving the unity of movement and form, the traditional structure (exposition - development - reprise - coda), classical functions of the parts and tonal relationships between the main and secondary parts (minor - parallel major in the exposition and minor-eponymous major in reprise) and even repeating the exposition.

· We see here, at the same time, a brighter contrast of the main images than in classical sonatas(main and side parties); the reprises are shortened (the main parts are omitted). The connections with the traditions of classicism are no less clear in the structure of Chopin’s other cyclical works (piano sonata in C minor, concertos for piano and orchestra, trio, sonata for cello and piano).

Chopin departs significantly further from classical norms in large one-movement works. The very genre of one-part plays on a large scale, if not arose, then at least received widespread development precisely in the music of the romantics - especially in the work of Chopin, as well as Liszt.

Two origins of this typically romantic genre can be identified..

· On the one hand, as V. A. Tsukkerman notes, romantic music is characterized by isolation, a kind of “emancipation” of parts of the sonata cycle. Chopin's scherzos are not only parts of a cyclic form, but also independent works. In the same way (this, however, applies more to small forms) some of Chopin’s lyrical pieces can be considered as the slow parts of the sonata cycle that have received the right to independent life.

· On the other hand, romantic music is characterized by compression of the sonata cycle into one movement; or, which is approximately the same thing, the penetration of cyclical elements into one-part plays. Particularly indicative in this regard are Liszt’s major works (sonata in B minor, concertos). However, Liszt developed those tendencies that were clearly evident in a number of Chopin's piano pieces. Individual themes acquire much greater independence in them than in musical works of the classical type and in the sonatas of Chopin himself. Let's give a few examples.

For a person unfamiliar with ballad F-dur, its first theme may at first give the impression of an independent part of a cyclic composition: it is completed tonally and separated from the next theme by a long fermata. The impression of independence of the first theme is strengthened with the appearance of the second theme, which contrasts with the first both in general character and tempo(Presto con fuoco instead of Andantino), and texture, and, finally, tonality(A minor instead of F major). And only when the first theme returns, it becomes clear that it is not an independent part of the cycle, but one of the contrasting images of a one-part composition. We're about the same see in the ballad As-dur. The first theme, also tonally and structurally complete, is so clearly demarcated from the second that it can be taken as an independent part of the composition. However, this theme returns both in development and in reprise - therefore it should be considered as the main part of a work written in a very freely interpreted sonata form.

In some works, the middle episodes grow into the significance of independent parts. Let us point out the middle part (H-dur) of the polonaise-fantasy. By the general character of the music, structural and tonal completeness, texture and dynamics, this episode is quite clearly distinguished from the first and third parts of the polonaise-fantasy. In terms of scale, the H-major episode could well become one of the parts of the sonata cycle. The same can be said about the middle part of the scherzo b-moll.

Independence and wide development of themes and images give a special character to the sonata form in some of Schoen's works.

Let us dwell on other features of the sonata form in Chopin’s one-movement works. In some works he replaces the elaboration with an independent central episode (skepzo b-minor and E-major). Only in a few works does the reprise literally repeat the exposition; it is often shortened and modified, which always dynamizes the dramaturgy of the work.

Chopin's large one-movement works are characterized by synthetic forms, and above all, a combination of sonatas with elements of rondo and variation Yu. One of the illustrative examples is the ballad f-mol1. Variation is a very significant feature of the style of major Chopin works.

One of the manifestations of variation development is heterogeneous (intonation, texture, tonal, etc.), often very subtle and difficult to discern connections between the themes of one composition. These connections enable Chopin to achieve stylistic unity, thematic integrity with a wealth of musical images. The coda of the f-minor ballad does not follow from the main themes of the work. But it “echoes” with them (primarily with the main theme) with certain intonations and texture features. Therefore, it very logically completes the “story told by Chopin.”

* Speaking about the variety of genres in Chopin’s music, V.V. Stasov noted its extremely important feature. “Despite its apparent, miniature and limited forms, its preludes, nocturnes. etudes, mazurkas, polonaises, impromptus are full of great and deep content, and all of them, except perhaps a few, rare exceptions, belong just as much to the field of “program” music as his magnificent ballads[...] No one doubts the “programmatic” nature of his 2nd sonata (B minor). The programmatic nature of music is determined not only by the title (or the program as such), but also by the programmatic intent.

It is difficult to say with complete certainty why Chopin avoided making his programmatic plans public. Undoubtedly, his characteristic restraint was reflected here. At the same time, it is very likely that the composer’s creative imagination often led him beyond the boundaries of his intended program. One way or another, Chopin spoke only to his closest people about the intentions of some of his works. True, there is a known case when Chopin had the intention of publishing one of his compositions with program instructions. On the manuscript of the nocturne g-moll op. 15 Chopin wrote: “After the performance of Hamlet.” But this time too, Chopin remained true to himself. The above phrase is crossed out, and next to it is written in Chopin’s hand: “No, let them guess for themselves.”

Among Chopin's friends, some of his works were apparently known under program names. E. Delacroix in his “Diary” mentions Chopin’s play “The Mill at Nohant”. Unfortunately, it remains unknown which work Delacroix had in mind.

So, we know that Chopin has works that undoubtedly belong to the sphere of program music. These works are few. Biographers of Chopin name no more than one and a half to two dozen plays that are definitely related to certain programs or life impressions (we are not talking about the guesses, however convincing, of researchers of Chopin’s work). In order to show that these plays are no exception to Chopin's art, we must dwell on the problem of the diversity of his music , on the type of its programming.

One of the most popular, deservedly loved by both listeners and performers of Chopin's plays - impromptu Fis-dur:

· Against the background of a very calm, seemingly “rocking” accompaniment, a calm, wide and soft folk melody also sounds. Without losing its calm character, the melody develops in typically Chopin graceful “piano coloraturas” and is replaced by a new image - gentle, transparent music; I remember a women's or children's choir.

· Then follows a courageous heroic march.

· The melodious first theme sounds again and gradually turns into gentle, airy, softly flowing passages (tonal reprise).

· In conclusion, the second theme (“children’s choir”) returns.

In the contrasting musical images that formed the basis of Chopin's play, genre connections are very clear (lullaby, chorus, march), evoking almost visually distinct associations. The sequence of these musical images leaves an impression of unusualness and involuntarily makes you think about the intention of the play. Indeed, according to the data that came to us through Chopin's first biographers, the Fis-dur "impromptu is a programmatic work. Chopin was inspired by the following picture: a young Polish woman, bending over the cradle, hums a song to her only son; gradually the mother falls asleep; she imagines a magical choir , predicting the future of her baby - he will become a brave, courageous fighter for the fatherland... Singing a song, the young mother fell asleep, immersed in a world of unclear dreams...

This program reveals the meaning of impromptu musical images, its dramaturgy and at the same time the ideological concept of the play. In this case we can talk about Story programming. Some other Chopin program works also belong to the same “plot” type - for example, F-dur" ballad, inspired by Mickiewicz’s poem “Svitezianka”. In the ballad we see a kind of musical painting. However, the musical imagery here (as always with Chopin) is subordinated to deep psychologism.

Both the impromptu Fis-dur and the ballad F-dur make it possible to judge Chopin’s principles of musical embodiment of program ideas. We see that in the F-dur ballad, Chopin, without following step by step the poet's story, without illustrating all the events described, draws the most significant episodes. And scenes of Mickiewicz's ballad in deeply contrasting images. The same is true for impromptu Fis-dur.

Based on specific ideas, Chopin creates generalized artistic images with deep thoughts and exciting emotions. The first episode of the ballad is not so much a landscape as a musical revelation of the happiness of lovers. In the music of Presto and the final Agitato, one can hear the howl of a hurricane and the noise of raging waves, but the main thing here is mental confusion and a premonition of approaching death.

Chopin also encounters - mainly in small pieces - another type of program - generalized. Let's turn to etude As-dur op. 25. According to legend cited by Chopin's biographers, this sketch was inspired by the following episode: while walking, Chopin was caught in a storm; through the noise of the rain and wind he could hear the sounds of a horn played by a shepherd who had taken refuge in the grotto. Chopin avoids detailed sound recording in the As-dur Etude. We do not hear the traditional imitation of pastoral tunes and the equally traditional imitation of howls and gusts of wind. Here too, the direct life impression is translated by Chopin into a generalized artistic image. The shepherd's song, the sound of rain and wind, the rural landscape - all this awakened Chopin's creative imagination, but he did not set out to give a “visual sketch”, an accurate “musical description” of the episode that brought the As-dur etude to life. etude As-dir and the second ballad. The difference is that in the etude there is no development of the plot, no change in sound pictures. These are, in essence, the same th artistic image. We see the same type of programming in etude c-moll op. 10. Here, too, there is no development of the plot in the change of musical scenes. The whole etude is imbued with one thought, one feeling - pain for the homeland. The same single image is in etude f -moll op.25, which is a “musical portrait” of Maria Wodzinska.

Thus, we can say that almost all of Chopin’s work is programmatic in essence. We have the right to draw a conclusion about the program based on the content of the music and certain stylistic features. It is almost impossible to doubt the programmatic content of almost all polonaises or f-minor fantasies. The extraordinary relief of the musical images of fantasy, the features of its dramaturgy (in particular, the introduction of a mournful and pathetic recitative monologue in the middle of the play) - all this convincingly indicates the presence of a programmatic plan in Chopin’s brilliant creation.

In works about Chopin we encounter numerous programmatic interpretations of his works. Some of these programs look more or less convincing, others are clearly subjective. But the very fact of the persistent search for programs in Chopin’s works shows that many of them are difficult to perceive without connection with certain specific ideas. No wonder Saint-Saëns said about Chopin: “His music is always a picture.”

ABOUT THE EVOLUTION OF STYLE:

Chopin's work, like that of any other artist, did not remain unchanged:

· His early Warsaw works are dominated by bright moods and youthful joy.

· With the defeat of the Polish uprising, Chopin's music includes dramatic, tragic, and heroic images.

· In many of Chopin's later works, self-absorption and refined psychologism are rightly noted.

Chopin's musical speech also evolved:

· The harmonic language and structure of his early works are comparatively simple. The piano presentation tends towards elegant, “brilliant” virtuosity.

· In Chopin's mature works we see a wealth of piano texture and harmonies. In some late works one can notice the sophistication of piano writing and harmony, and in some places the sophistication of musical thinking.

But still, Chopin's music is the art of unified style. Already in his youthful compositions he speaks in his own musical speech. The main ideological content of his art - a fiery love for his oppressed homeland - remained unchanged throughout his life. Likewise, the connections between his music and Polish folk art remained consistently strong. Therefore, in any fragment of any Chopin composition - no matter when it was written - the creative handwriting of its author is immediately recognizable. It is not without reason that one can put next to, for example, one of Chopin’s earliest works, the mazurka a minor op. 17 No. 4, and Mazurka in g minor op. 67 No. 2, written in the last years of his life. It cannot be said that these plays are completely of the same type, but from the very first bars it is clear that their author is Fryderyk Chopin.

It is possible to reveal the deep originality of the works of the great Polish composer, to show the commonality that brings together all Chopin's nocturnes and mazurkas, only if we consider his work by genre. Within the framework of individual genres, we will also highlight the evolution of Chopin’s style, drawing, for example, attention to the difference between youthful polonaises, polonaises of mature years and the fantasy polonaise written in the last years of the composer’s life.

Message quote Frederic Chopin | A genius of piano music. (“Chopin-Lust for Love” (2002) Biographical film.)

Chopin's work is a vast world of extraordinary beauty. Listening to it, you forget that you are listening to only one instrument - the piano. Boundless expanses open up before you, windows open into unknown distances, full of secrets and adventures. And I really want this new, newly discovered world to never leave you.

(Anna German - Letter to Chopin)

Frederic Chopin (Polish: Fryderyk Chopin, native village of Zhelazova Wola, near Warsaw) is a Polish composer and virtuoso pianist. Author of numerous works for piano. The largest representative of Polish musical art. He interpreted many genres in a new way: he revived the prelude on a romantic basis, created a piano ballad, poeticized and dramatized dances - mazurka, polonaise, waltz; turned the scherzo into an independent work. Enriched the harmony and piano texture; combined classical form with melodic richness and imagination.

Fryderyk Chopin was born near Warsaw, the capital of Poland, in the town of Zhelazova Wola.

Justina Chopin (1782 - 1861), mother of the composer.Nicolas Chopin (1771 - 1844), father of the composer

Chopin's mother was Polish, his father was French. Chopin's family lived on the estate of Count Skarbek, where his father served as a home teacher.

After the birth of his son, Nikolai Chopin received a position as a teacher at the Warsaw Lyceum (secondary educational institution), and the whole family moved to the capital. Little Chopin grew up surrounded by music. His father played the violin and flute, his mother sang well and played the piano a little. Not yet able to speak, the child began to cry loudly as soon as he heard his mother singing or his father playing. His parents believed that Fryderyk did not like music, and this greatly upset them. But they soon became convinced that this was not the case at all. By the age of five, the boy was already confidently performing simple pieces, learned under the guidance of his older sister Ludvika. Soon, the famous Czech musician Wojciech Zivny, famous in Warsaw, became his teacher.

Wojciech Zywny (1782 - 1861), the first teacher who taught Fryderyk Chopin to play the piano

A sensitive and experienced teacher, he instilled in his student a love of classical music and especially the works of I.S. Bach. Bach's keyboard preludes and fugues subsequently always lay on the composer's desk. The little pianist's first performance took place in Warsaw when he was seven years old. The concert was a success, and the whole of Warsaw soon learned Chopin's name. At the same time, one of his first works was published - a polonaise for piano in G minor. The boy's performing talent developed so quickly that by the age of twelve, Chopin was on par with the best Polish pianists. Zhivny refused to study with the young virtuoso, declaring that he could teach him nothing more. At the same time as studying music, the boy received a good general education. Already as a child, Fryderyk was fluent in French and German, was keenly interested in the history of Poland, and read a lot of fiction. At the age of thirteen he entered the lyceum and three years later he successfully graduated. During the years of study, the versatile abilities of the future composer were revealed.

The young man drew well, and he was especially good at caricatures. His talent for mimicry was so brilliant that he could have become a stage actor. Already in his youth, Chopin was distinguished by his sharp mind, observation and great curiosity. Since childhood, Chopin showed a love for folk music. According to the stories of his parents, during country walks with his father or comrades, the boy could stand for a long time under the window of some hut, from where folk tunes could be heard. While on vacation in the summer at the estates of his lyceum comrades, Fryderyk himself took part in the performance of folk songs and dances.

Singer Angelica Catalani (1780 - 1849) gave F. Chopin a gold watch with the inscription “Madame Catalani (Fryderyk Chopin ten years old) in Warsaw. 3. 1. 1820"

Over the years, folk music became an integral part of his work and became close to his being. After graduating from the Lyceum, Chopin entered the Higher School of Music. Here his classes were led by the experienced teacher and composer Joseph Elsner. Elsner very soon realized that his student was not just talented, but a genius. Among his notes there is a brief description he gave to the young musician: “Amazing abilities. Musical genius." By this time, Chopin had already been recognized as the best pianist in Poland. His talent as a composer also reached maturity. This is evidenced by two concertos for piano and orchestra, composed in 1829-1830. These concerts are invariably performed in our time and are favorite works of pianists from all countries. At the same time, Fryderyk met the young singer Konstanzia Gladkowska, who was studying at the Warsaw Conservatory. Gladkovskaya was destined to become Fryderyk's first love. In a letter to his friend Woitsekhovsky, he wrote:
“...I, perhaps, unfortunately, already have my own ideal, which I faithfully serve, without speaking to it for six months, which I dream about, the memory of which became the adagio of my concert, which inspired me to write this morning this waltz being sent to you.”

Constance Gladkowska (1810 - 1889) singer at the National Theater in Warsaw. Miniature of Anna Chametz, made in 1969 based on a drawing by Wojciech Gerson

It was under the impression of this youthful feeling of love that Chopin composed one of his best songs, “Desire” or “If I Shined Like the Sun in the Sky.” In 1829, the young musician traveled briefly to Vienna. His concerts were a huge success. Chopin, his friends and family realized that he should go on a long concert tour. Chopin could not decide to take this step for a long time. He was tormented by bad feelings. It seemed to him that he was leaving his homeland forever. Finally, in the autumn of 1830, Chopin left Warsaw. Friends gave him a farewell cup filled with Polish soil. His teacher Elsner said goodbye to him touchingly.

Joseph Elsner (1769-1854), teacher of Fryderyk Chopin in music theory and composition

On the outskirts of Warsaw, where Chopin was passing through, he and his students performed a choral work he had written especially for this occasion. Chopin was twenty years old. The happy youthful time, full of searches, hopes, successes, is over. Chopin's premonitions did not deceive him. He parted with his homeland forever. Remembering the good reception he received in Vienna, Chopin decided to begin his concerts there. But, despite the increased efforts, he was never able to give an independent concert, and publishers agreed to publish his works only for free. Unexpectedly, alarming news came from home. An uprising against the Russian autocracy, organized by Polish patriots, began in Warsaw. Chopin decided to interrupt his concert tour and return to Poland. He knew that among the rebels were his friends, perhaps even his father. After all, in his youth, Nicolas Chopin took part in the popular uprising led by Tadeusz Kosciuszko. But his family and friends persistently advise him in letters not to come. People close to Chopin are afraid that persecution may affect him too. Let him better remain free and serve his homeland with his art. With bitterness, the composer resigned and headed to Paris. On the way, Chopin was overtaken by news that shocked him: the uprising was brutally suppressed, its leaders were thrown into prison and exiled to Siberia. Chopin’s most famous etude, called “Revolutionary,” created even before his arrival in Paris, was directly connected with thoughts about the tragic destinies of his homeland. It embodied the spirit of the November uprising, as well as anger and sorrow. In the autumn of 1831, Chopin arrived in Paris. Here he lived until the end of his life. But France did not become the composer’s second homeland. Both in his affections and in his work, Chopin remained a Pole. And he even bequeathed his heart to be taken home after death. Chopin “conquered” Paris first as a pianist. He immediately amazed the audience with his unique and unusual performance.

Friedrich Kalkbrenner (1788 - 1849). From a lithograph by G. Richardi. German pianist, composer and teacher. From 1824 he lived in Paris, where he was considered the most outstanding teacher of piano playing.

At that time, Paris was flooded with musicians from various countries. The most popular were the virtuoso pianists: Kalkbrenner, Hertz, Hiller.

Ferdinand Hiller (1811 - 1885) - German pianist, composer, conductor, musician. theorist, music historian and critic; founder of the Cologne Conservatory. He had a warm friendship with F. Chopin (there is a bronze medal depicting Chopin and Hiller)

Their playing was distinguished by technical perfection and brilliance that stunned the audience. That's why Chopin's first concert performance sounded like such a sharp contrast. According to the memoirs of contemporaries, his performance was surprisingly spiritual and poetic. The famous Hungarian musician Franz Liszt, who also began his brilliant career as a pianist and composer at that time, remembers Chopin’s first concert: “We remember his first performance in the Pleyel Hall, when the applause, which increased with redoubled force, seemed unable to sufficiently express our enthusiasm in the face of talent, which, along with happy innovations in the field of his art, opened a new phase in the development of poetic feeling."

F. Liszt (1811-1886)

Chopin conquered Paris, just as Mozart and Beethoven once conquered Vienna. Like Liszt, he was recognized as the best pianist in the world. At concerts, Chopin mostly performed his own compositions: concertos for piano and orchestra, concert rondos, mazurkas, etudes, nocturnes, Variations on a theme from Mozart's opera Don Giovanni. It was about these variations that the outstanding German composer and critic Robert Schumann wrote: “Hats off, gentlemen, before you is a genius.”

Chopin's music, as well as his concert performances, aroused universal admiration. Only music publishers waited. They published Chopin's works, but, as in Vienna, for free. Therefore, the first editions did not bring income to Chopin. He was forced to give music lessons for five to seven hours every day. This work provided him, but took too much time and effort. And even later, being a world-famous composer, Chopin could not afford to stop these studies with his students that were so exhausting for him. Along with the growing popularity of Chopin as a pianist and composer, his circle of acquaintances expanded.

F. Chopin among the famous pianists of his time (1835). From left to right: standing - T. Deller, J. Rosengein, F. Chopin, A. Dreishok, S. Thalberg; sitting - E. Wolf, A. Henselt, F. Liszt.

Among his friends are Liszt, the outstanding French composer Berlioz, the French artist Delacroix, and the German poet Heine. But no matter how interesting his new friends were, he always gave preference to his compatriots. For the sake of a guest from Poland, he changed the strict order of his working day, showing him the sights of Paris. He could spend hours listening to stories about his homeland, about the lives of his family and friends.

With youthful insatiability he enjoyed Polish folk songs, and often wrote music to the poems he liked. Very often these poems, turned into songs, found their way back to Poland and became the property of the people. If a close friend, the Polish poet Adam Mickiewicz, came, Chopin immediately sat down at the piano and played for him for hours. Forced, like Chopin, to live away from his homeland, Mickiewicz also yearned for it. And only Chopin’s music slightly eased the pain of this separation and transported him there, far away, to his native Poland. It was thanks to Mickiewicz and the frenzied drama of his “Conrad Wallenrod” that the First Ballad was born. And Chopin’s Second Ballad is associated with the images of Mickiewicz’s poetry. Meetings with Polish friends were especially dear to the composer because Chopin did not have his own family.

His hope of marrying Maria Wodzinska, the daughter of one of the rich Polish nobles, did not come true. Maria's parents did not want to see their daughter married to a musician, even if he was world famous, but earned his living by working. For many years he connected his life with the famous French writer Aurora Dudevant, who appeared in print under the pseudonym Georges Sand.

Judging by the “musical portraits” of Konstance Gladkowska and Maria Wodzinska, Chopin valued above all else the charm of purity created by his imagination. In George Sand one could find anything but this. By that time she enjoyed a scandalous reputation. Chopin could not have known this. But Liszt and his friend Marie d'Agoux highly valued the literary talent of George Sand and talked about this with Chopin and Mickiewicz, emphasizing that they valued her primarily as a writer. They also contributed to the appearance of George Sand at musical evenings with Chopin.

George Sand

It must be said that there is not much reliable information about the history of Chopin’s relationship with Georges Sand. Not everyone agrees with George Sand herself, who portrayed Chopin’s guardian angel to his friends and described to them her “self-sacrifice” and “maternal care” for the composer. Liszt, in a book published during George Sand’s lifetime, very unequivocally accused her of being the cause of his untimely death. Wojciech Grzymala, one of Chopin's closest friends, also believed that George Sand, “who poisoned his entire existence,” was responsible for his death. “A poisonous plant” was called by Wilhelm Lenz, a student of Chopin, who was deeply indignant at how impudently, arrogantly and disdainfully George Sand treated Chopin even in the presence of strangers. Over the years, Chopin gave concerts less and less, limiting himself to performing with a small circle of friends.

He devoted himself entirely to creativity. His sonatas, scherzos, ballads, impromptuses, a new series of etudes, the most poetic nocturnes, preludes and his still favorite mazurkas and polonaises appeared. Along with light lyrical plays, more and more often from his pen came works full of dramatic depth, and often tragedy. This is the Second Sonata, with a funeral march, which belongs to the highest achievements of the composer, of all Polish music and romantic art in general. Józef Chominski, characterizing the first two movements of the sonata, said: “After the heroic struggle, the funeral march is obviously the last act of the drama.” Chopin viewed the funeral march as an emotional conclusion that dramatically completes the development of images. We have the right to call this drama, the images of which unfold in Chopin’s sonata, a national tragedy. Chopin's funeral march is recognized as the most outstanding work of this genre. This march occupied a special, exceptional place not only in musical literature, but also in the life of humanity, for it is difficult to find a more sublime, more beautiful and more tragic embodiment of the feeling of grief. Chopin's life in Paris was, if not happy, then favorable for creativity. His talent reached its peak.

The publication of Chopin's works no longer encounters any obstacles; taking lessons from him is considered a great honor, and hearing him play is a rare happiness, available to a select few. The last years of the composer's life were sad. His friend Jan Matuszynski died, followed by his beloved father. A quarrel and break with George Sand made him completely lonely. Chopin was never able to recover from these brutal blows. The lung disease that Chopin had suffered from a young age worsened. The composer has written almost nothing for the past two years. His funds have dried up. To improve his difficult financial situation, Chopin undertook a trip to London at the invitation of English friends. Having gathered his last strength, sick, he gives concerts and lessons there. The enthusiastic reception at first pleases him and instills him with cheerfulness. But the damp climate of England quickly had its destructive effect. A hectic life, full of secular, often empty and meaningless entertainment, began to tire him. Chopin's letters from London reflect his gloomy mood, and often suffering:
“I’m no longer able to worry or rejoice - I’ve completely stopped feeling anything - I’m just vegetating and waiting for this to end as soon as possible.”

Chopin gave his last concert in London, which turned out to be the last in his life, in favor of Polish emigrants. On the advice of doctors, he hastily returned to Paris. The composer's last work was a mazurka in F minor, which he could no longer play and only wrote down on paper. At his request, his elder sister Ludwika arrived from Poland, in whose arms he died.

1838., portrait by Eugene Delacroix

Chopin's music is characterized by lyricism and subtlety in conveying various moods; His works are distinguished by the breadth of national folklore and genre connections. Chopin reinterpreted many genres. He enriched the harmony and piano texture, combined classical form with melodic richness and imagination. His piano performance combined depth and sincerity of feelings with grace and technical perfection.

Chopin - Nocturne Op.9 No.2 (Arthur Rubinstein)

CHOPIN(Chopin) Fryderyk (March 1, 1810, Zelazowa Wola, Poland - October 17, 1849, Paris), Polish composer and pianist. Chopin's music is characterized by lyricism and subtlety in conveying various moods; His works are distinguished by the breadth of national folklore and genre connections. He interpreted many genres in a new way: he revived the prelude on a romantic basis, created a piano ballad, poeticized and dramatized dances - mazurka, polonaise, waltz; turned the scherzo into an independent work. Enriched the harmony and piano texture; combined classical form with melodic richness and imagination. 2 concertos (1829, 1830), 3 sonatas (1828-44), fantasy (1841), 4 ballads (1835-42), 4 scherzos (1832-42), impromptu, nocturnes, etudes and other works for piano; songs. His piano performance combined depth and sincerity of feelings with grace and technical perfection.

Young genius

Born into a mixed French-Polish family; Chopin's native language was Polish. In 1816-1822 he studied piano with Wojciech Zywny (1756-1842), whose teaching was based on the music of J. S. Bach and the Viennese classics. Apparently, at the same time the future composer’s first acquaintance with Italian bel canto took place. Chopin's unique melodic style developed under the combined influence of Mozart, Polish national music, in particular, the salon plays of his older contemporaries M. K. Oginski, M. Szymanowska and others, as well as Italian opera. Chopin's first compositional experiments (two polonaises) date back to 1817. Since 1819, he has been performing as a pianist in Warsaw aristocratic salons. In 1822 he began studying privately with the leading Polish composer J. Elsner. In 1823 he entered the Warsaw Lyceum, shortly before graduating from which he published his first opus - Rondo c-moll (1825). In 1826-1829, Chopin studied in Elsner's class at the Warsaw Main School of Music. This period includes Variations on a theme of a duet from Mozart's opera Don Giovanni for piano and orchestra, Op. 2, First Sonata Op. 4 and a number of plays. Upon graduating from the conservatory, Chopin was officially awarded the characteristic of “musical genius.”

Chopin - Nocturne No.19, Op.72 No.1 (Richter)

Chopin House

Voluntary exile

In 1829 and 1831, Chopin gave successful concerts in Vienna. At the same time, R. Schumann spoke enthusiastically in the press about the Variations Op. 2 (“Hats off, gentlemen, before you is a genius!”). The news of the defeat of the Polish uprising of 1830-1831 found Chopin while he was in Stuttgart (according to popular legend, Chopin responded to it with a piece that is now widely known as the “Revolutionary Etude”).

Chopin - Rondo à la Krakowiak, Op. 14

A staunch supporter of Polish independence, Chopin refused to return to his homeland and settled in Paris, where he soon gained a reputation as an outstanding teacher and pianist. He was received in the highest circles of the Parisian aristocracy, met the popular virtuoso pianists F. Kalkbrenner and C. Pleyel (who provided him with practical assistance in the first period of his Parisian life), musicologist F. J. Fetis, composers F. Liszt, V. Bellini, the artist E. Delacroix, the writers G. Heine, V. Hugo, and other prominent representatives of the Parisian artistic elite; among his friends there were also representatives of the Polish emigration. In 1835 and 1836, Chopin traveled to Germany (where he met, in particular, with Schumann and F. Mendelssohn), and in 1837 - to London. Meanwhile, he developed pulmonary tuberculosis, the first symptoms of which were discovered back in 1831. Soon Chopin actually abandoned his career as a virtuoso, limiting his concert activities to rare performances, mainly for a small audience, and focused on composition, publishing his opuses simultaneously in Paris, London and Leipzig.

Next to George Sand

GeorgesSand

Chopin - Nocturne Op.15 No.3 in G minor (Arthur Rubinstein)

In 1837, Chopin began an affair with the famous French writer George Sand, who treated Chopin partly in a maternal way, as a fragile and immature creature who needed constant care. Chopin and J. Sand spent the winter of 1838-1839 on the island of Majorca (Spain), which had a beneficial effect on the composer’s health. His relationship with the writer lasted about 10 years. After the break with J. Sand (1847), Chopin's health deteriorated sharply.

Frederic Chopin - photo 1848

In February 1848 he gave his last concert in Paris. The revolution that began a few days later forced Chopin to leave for Great Britain, where he spent seven months playing in aristocratic salons (including for Queen Victoria) and giving lessons. Upon returning to Paris, Chopin was no longer able to teach students; in the summer of 1849 he wrote his last work - Mazurka in f-minor op. 68 No. 4. At Chopin's funeral in the Parisian Church of St. Mary Magdalene was attended by about three thousand people; his Preludes in e-moll and b-moll from Op. 28 and Mozart's Requiem. At the funeral, the orchestra played the funeral march from his Second Sonata in B minor, Op. 35. At Chopin’s request, his heart was transported to Poland; it rests in the Warsaw Church of the Holy Cross.

Chopin - Prelude No.4

MuseumChopin

Virtuoso and improviser

Almost all of Chopin's music is intended for piano (among the few exceptions is the late Sonata for cello and piano, dedicated to the composer's friend, cellist O. Francomme, and a dozen songs based on words by Polish poets). According to contemporaries, Chopin was an inspired improviser. He composed as he played, painfully trying to capture his musical ideas in notes. Chopin's legacy is small in scope, but the artistic world embodied in it is universal.

Chopin - Grand Valse Brillante

One of the poles of Chopin’s work consists of youthful virtuoso pieces (including rondos) and works for piano and orchestra (two concertos, 1829-30, etc.), in which he still adheres to the traditional forms of romantic “grand style” pianism. At the other pole are the monumental Third Sonata in B minor (Op. 58, 1844) and the surrounding Fantasia (1841), Lullaby (1843-44), Barcarolle (1845-6), Third and Fourth Ballads (1840-41, 1842) , Fourth Scherzo (1842), three mazurkas op. 56 (1843), three mazurkas op. 59 (1845), Polonaise-Fantasy (1845-46), nocturnes op. 62 (1846) - works of enormous expressive power and nobility, innovative in form (the late Chopin is characterized by a free three-part form with a long-prepared abbreviated reprise, which usually turns into a compressed coda), texture, and harmonic language. Between these two poles are etudes, preludes, nocturnes, waltzes, mazurkas, polonaises, impromptu - invariably perfect in all details and as varied as life itself. The poet and musician B. L. Pasternak considered this diversity to be a distinctive feature of Chopin and called his work “an instrument for the knowledge of all life.”

Chopin - Nocturne Op.48 No.2(Arthur Rubinstein)

Monument to Chopin

Chopin's music is almost entirely homophonic-harmonic; the lack of counterpoint in the usual sense is compensated for by the rich play of accompanying voices, creating the effect of the finest subvocal polyphony. Many of his plays were written in popular everyday, salon, educational (etudes) genres, but under Chopin’s pen their genre prototypes take on a completely new scale. Schumann’s words about one of Chopin’s etudes: “This is not so much an etude as a poem” apply to all other etudes, as well as to most mazurkas, waltzes, preludes, nocturnes, etc. (the genre principle prevails over the poetic one only in some of Chopin’s early plays ). His harmony is characterized by unusually bold tonal juxtapositions and modulations (often taking the form of sudden “slips” into distant tonal realms), excursions into the realm of pure chromaticity or modality. The influence of Chopin's harmonic and melodic language can be traced in the works of such different composers as F. Liszt, R. Wagner, G. Fauré, C. Debussy, E. Grieg, I. Albeniz, P. Tchaikovsky, A. Scriabin, S. Rachmaninov, K. Szymanowski. Since 1927, the International Chopin Competition has been held in Warsaw.

Chopin - Nocturno en si bemol menor Op.9 No.1

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Mordasova, Ekaterina Ivanovna. The creative heritage of F. Chopin in the theory and practice of teaching music: dissertation... candidate of pedagogical sciences: 13.00.02 / Mordasova Ekaterina Ivanovna; [Place of protection: Moscow. state humanitarian University named after M.A. Sholokhov].- Tambov, 2011.- 191 p.: ill. RSL OD, 61 11-13/1508

Introduction

Chapter 1 The creative heritage of F. Chopin as a complex of composer, performing and pedagogical aspects of activity - and its role in the process of studying the romantic piano style in performing classes 12

1.1 Current state of the problem of studying works. romantic style in music pedagogy 12

1.2 The creative heritage of F: Chopin as an artistic and stylistic phenomenon of the era of romanticism 35

1.3 F. Chopin’s pedagogical principles and their relationship with his composing and performing work 76

1.4. Methodology for the integrated use of F. Chopin’s creative heritage 103

Chapter 2 Experimental study of the effectiveness of the method of complex use of F. Chopin’s creative heritage in the study of the romantic piano style 130

2.1 Pedagogical observations 130"

2.2 Interviews and questionnaires 149

2.3 Formative experiment 155

Conclusion 171

Bibliography 174

Applications 185

The current state of the problem of studying works. romantic style in music pedagogy

What does a professional musician encounter in his line of work? with the need to perform music of various styles and eras. Confident. orientation in various stylistic zones is a necessary condition for the professional activity of a musician: However, in the modern situation on the performing stage, the gradual departure of the new performing style from the values ​​traditional for the romantic piano style provokes their gradual loss, which inevitably has a negative impact on piano pedagogy.

Considering the current state of the domestic music and performing scene, it is necessary to note the following. V:S. Gritsevich, analyzing the repertoire of pianists during the 20th century, c. Among some of the patterns he derived, he also notes that “after the Second World War, the interest of pianists in the works of Chopin, Schumann and Liszt decreased somewhat, while interest in the legacy of Brahms, Rachmaninov and the sonatas of Schubert increased noticeably,” and also that “ works by Debussy, Ravel, Bartok; Prokofiev entered the repertoire of almost all major pianists, occupying a permanent place in it.” It should be noted that the vision of the expressive capabilities of the piano by composers of the 20th century is built on a fundamentally different basis compared to the creative heritage of the authors of music of previous eras. Based on the analysis, the researcher concludes that there are two interrelated trends in the piano repertoire: the politics of the 20th century, manifested in a decrease in the “specific weight of emotionally vibrant and at the same time pianistically elegant pieces” and at the same time “in a shift in the interest of artists towards such works that manages to perform with limited co-creative initiative and moderate return of mental strength” [ibid.].

The possibility of the performer's co-creative initiative is predetermined by the style of the composition and the manner of its presentation. Thus, analyzing the Prelude in E major by J. E. Bach, the 1st movement of the sonata Es major by Haydn and Polonaise-Fantasy by Chopin as examples of musical works of various styles, the author comes to the conclusion that the very structure of the musical composition, its presentation - determine the extent of such initiative: “There is reason to assume that the work is more monolithic internally than it is more homogeneous in appearance? manner of presentation, “the less his stage fate depends on the co-creative initiative of the artist.” The researcher also notes that the least monolithic in this sense are the free-form works that emerged in the romantic era - fantasies; ballads, symphonic poems, etc. Due to the complex organization of the structure of such works, the expansion of their emotional range, complexity, form and other conditions, they necessarily require the greatest co-creative initiative from the performer, the personal participation of the performer in the creation of the work during its performance.

A.A. Kandinsky-Rybnikov comes to similar conclusions regarding the performing arts of the 20th century, but views them from a slightly different perspective. Thus, the researcher sets approximately the same time limit for the end of the era of romantic performing art; that - and V: S. Gritsevich - approximately the middle of the 20th century. A.A. Kandinsky-Rybnikov emphasizes significant progress in terms of stylistic expansion and universalization of the modern performing repertoire. Regarding the place in it of the works of romantic composers, the author notes: “The repertoire has by no means become anti-romantic; quantitatively, romance even takes first place in it (emphasis added - E.M.). But now this is primarily due to the fact that piano literature consists almost more than half of the works of the romantics.” The researcher considers the second important feature of the modern performing scene to be increased historicity in approaches to interpretation; and as a consequence - the emergence of the “performer-researcher” direction, i.e. a musician who performs ancient music on authentic instruments and studies the problems of its interpretation. The author considers another manifestation of increased historicity to be the principle of constructing concert programs, often based on the exhibition of a particular direction; genre, game style, etc., i.e. the strengthening of the art historical element in modern performing culture, which, according to the scientist, “determines its increased intellectuality, which has made” manifestations of improvisation less frequent and less frank. Hence, in general, less than. first, the dependence of the artists’ performance on direct contact with the audience, and the desire and ability to record records inherent in most of them.”

In turn, N.G. Drach in his work devoted to the consideration of stylistic trends in performance of the second half of the 20th century; highlights such trends as neo-baroque, neoclassicism, neo-romanticism and folklorism. Among the named styles, according to the researcher, neo-romanticism as such “is developing “extensively”, to a greater extent absorbing the novelty of the means of performing expressiveness of other stylistic trends in the performing style of the second half. XX century". Despite the fact that N.G. Drach points out as features characterizing the neo-romantic performing style, the improvisational manner of performing the fixed text, as well as the desire “not to lose emotional support in the interpretation” [ibid], in the future the author emphasizes “philosophy and cultural orientation... an intellectual approach to the process of interpreting a piano work; typical for performing neo-romanticism (author’s italics - E.M.) of the second half of the 20th century.” Thus, the neo-romantic movement experienced, as already mentioned, significant influence from other stylistic trends in performance.

However, the performing scene was influenced not only by the emergence of new composer names, but also by the activities of performers of a pseudo-romantic nature, who in their interpretations carried the deviations of tempo, dynamics, and agogics inherent in romantic art to extremes bordering on absurdity. Such performers have significantly compromised romantic musical culture in the eyes of listeners. Not least associated with this phenomenon are the memories of one of the prominent Chopinists, A. Borovsky: “At the time of the formation of my musical taste; from 1908 to L915, I was surrounded by musicians who did not hold Chopin in high esteem... With the fervor and exaggeration characteristic of youth, we considered Chopin's music outdated, old-fashioned, ordinary, sugary; in short - banal." Such a perception of the work of one of the greatest romantic musicians was undoubtedly connected not with the content of his work, but with its interpretation by musical figures from pseudo-romanticism.

The creative heritage of F: Chopin as an artistic and stylistic phenomenon of the era of romanticism

In order to find out why exactly the works of the romantic era require the greatest degree of “co-creativity” and, as a result, emotional flexibility from the performer, it is necessary to consider the features of romanticism not only as a musical style, but also as a style of the era as a whole, and remember that how musical performance pedagogy has changed in this era. Romanticism is known in encyclopedic literature as an ideological and artistic movement in European and American spiritual culture of the late 18th - 1st half of the 19th centuries: However, in its content, the romantic style was significantly less monolithic in comparison with the chronologically preceding styles, and representing a very broad a circle of ideological and aesthetic trends in which the historical situation, country, and interests of the artist created certain accents and determined various goals and means.” Despite this, romantic art also has important general features relating to both an ideological position; so ististics.

Materials from large-scale studies of romanticism allow us to characterize this era as follows1. Romanticism was a kind of reaction to the achievements of the Enlightenment that preceded it, the negative consequences of scientific, economic, social progress, which brought new contrasts and antagonisms, as well as stratification, spiritual devastation of the individual, and the loss of its meaning. Inheriting traditions. The arts of the Middle Ages, Spanish Baroque and English Renaissance, and romance revealed the extraordinary complexity, depth and antinomy of the inner, subjective world of man, the infinity immanent to the individual personality. The essential features of romantic art in general are an intense interest in strong and vivid feelings, all-consuming passions, in the secret movements of the soul, in the intuitive and unconscious. At the same time, romanticism is characterized by the protection of freedom and self-worth of the individual, the cult of individuality, both of an individual person and of entire nations and eras, which predetermined the value of folklore in the described period of time.

In the field of aesthetics, romanticism contrasted the “imitation of nature” characteristic of classical art with the creative activity of the artist, the transformation of the real world. Manifestations of these processes in romanticism were the openness of literary types and genres, the interpenetration of arts, the synthesis of art, philosophy, and religion. In the visual? In art, romanticism manifested itself most clearly in picturesque graphics, and less clearly in sculpture.

Like any phenomenon; The concept1 of style can be considered from different points of view. In any work of art, style is the organizing principle, “the highest form of artistic unity” [YUG, 10]. Artistic (including musical) style influences the formation of creative thinking, but creative thinking is also expressed through style. Thus, according to L.A. Mazel, style can be characterized as a system of musical thinking, which includes both content and means of musical expression.

Style in music is a hierarchical concept. Thus, M.K. Mikhailov distinguishes such style levels as historical style (epoch style), directional style and individual style. The style of an era covers works that arose within a deterministic period of time. The style of a direction characterizes the features that distinguish movements, schools, etc. that existed within the historical style. Individual style, that is, the style of a particular composer, is the basis, the primary element of the collective stylistic levels described above and has a significant influence on them.

Thus, style in relation to the composer’s work is some formative factor; on the other hand: on the other hand, it itself is formed under the influence of the individual creative activity of the composer, which provides the basis? talk about the integrative unity of style in musical art and creative art; the manners of a particular composer; owned; to: this direction? Author's style; manifests itself through a system of stylistic features; - general patterns; underlying his musical thinking/Such patterns may be inherent in the entire stylistic direction as a whole, however? - their embodiment in an individual author bears the imprint of his individual vision;

Romanticism; what a style of the era! is a rather complex question.: Creativity? composers; related to the romantic style, has. significant differences not only on the individual level? level, but f and?, in the styles of schools, directions; and, also in relation to the national musical element? creativity, however? . m overall-. undoubtedly; is there a specific system? style features; allowing one to define “romanticism precisely as the style of the era; The complexity and ambiguity of the style of romanticism is also reflected: in its periodization; including: early romanticism, associated; continuity with the previous one; classical style (the first twenty years of the 19th century); the middle stage (from the 30th century to the 80s: XIX: century) and the subsequent late stage; during which there is a transition5 to subsequent stylistic models.. This periodization is quite conventional; however, it allows us to get an idea: about development? musical romantic style - and the changes that accompanied it [see. 38];

In musical art, the tendencies common to the romantics towards programming, towards the connection of music with the word, towards a closer combination and interpenetration of the properties of vocal and instrumental genres, the desire to bring the expressiveness of the melody closer to the expressiveness of the intonation of living speech, appeared. Romantic music differs significantly from the previous music of the Viennese classical school; it is less generalized in content, reflects reality not in an objective-contemplative plane, but through the individual, personal experiences of a person (artist) in all the richness of their shades.

Pedagogical principles of F. Chopin and their relationship with his composing and performing creativity

Chopin's pedagogical activities received significant attention in the works of authoritative biographers of the composer [see. 15; 56; 65; 103; 108; 128; 131-132], as well as musicians who studied the features of his pedagogical1 method. Chopin's pedagogical system, innovative for his time, necessarily reflected the composer's views on the content of musical works. In his own compositions, musical means are determined by the idea, and, in turn, determine the technical side, as a means of realizing this idea. At the same time; the formation5 of pedagogical attitudes is associated, first of all, with performing activities. Chopin, since the beginning of his pedagogical work is associated with his arrival in Paris; where he arrived, being already an established performer:

Since Chopin gained significant fame in Paris precisely as a virtuoso pianist, it was precisely this aspect of his talent that attracted many people to him? who want to learn piano playing from him. Chopin's performing talent, associated with his talent as a composer; allowed him to master extremely practical and effective piano technology; which was realized in the process of his studies? with students. In addition, a reflection of this technology can be observed in the texture of Chopin’s works, which will be discussed further.

Regarding Chopin’s original performing image, it should be noted that it was formed largely thanks to his enormous natural talent as a composer. Various biographies of the composer describe how, as a small child, he independently selected pieces on the piano at night that his mother played during dance lessons; held at the Chopin boarding house. Chopin's sister Ludwika taught him how to read music and basic fingering techniques. Although Chopin studied for six years with V. Zhivny, to a large extent his performing apparatus was formed as a result of his active inner ear. Even during his studies, Chopin began to improvise, fantasizing about the themes of the musical impressions that he received every day. It is the activity of the inner ear that is inherent in musical talent; Chopin; contributed to the formation of auditory-motor connections; .and;... as a consequence, optimal gaming movements;, emanating: from the musical content itself:,

D.K. Kirnarskaya? at work; dedicated to the genesis of musical abilities; notes: “The leading role is hearing in the occurrence; hearing motor connections leads to what are these connections? easily “formed - music; herself; contains in? optimal movements for yourself; expressing it, they are encrypted in it; intonation appearance;; V; her rhythmic pattern (our italics; -E.Mf)” 1 Chopin’s talent as a composer allowed; Chopin the performer; respond as adequately as possible to the requirements in your game? melody, rhythm; intonation; because learned; img musical; logics? of the pieces played) she conducted herself? a novice musician, behind him; telling him how to play.

Q: Conrad in a large-scale work dedicated to individual stylistic elements? music? composers; different: eras;, also: noted that not a single researcher of Chopin’s work has been able or has been able to separate the content; the beginning and instrumental-technical side in his compositions. Scientist" indicates that from an early age Shopesh was distinguished by instinctive ingenuity in relation to the search for a variety of sounds and techniques; playing the piano, and this ingenuity was inseparable from his talent as a composer; [see 129; 189]: Exactly what that Chopin's playing process was controlled by ear and musical imagination, allowed him to become a virtuoso - whose talent was recognized not only in Warsaw, but also in such sophisticated musical capitals as Vienna and Paris. It is interesting that E. Whiteside in a book dedicated to study of Chopin's etudes, also notes that the pianist should always remember when working on these works: natural playing movements are much more effective than playing techniques carefully worked out in individual details.The very nature of the musician uses the entire playing apparatus in response to the desire to achieve a certain sonic result [see 134, 26]. Chopin's natural, organic virtuosity came from the plasticity of the musical image, so maintaining it at the proper level did not require, as was prescribed in many methodological manuals of the era, long hours of practice filled with endless repetitions of technically difficult passages. In support of this, reference should be made to a letter from the composer’s father, dated November 1831, in which he questioned Kalkbrenner’s recommendation to undergo a three-year course under his supervision to improve Chopin’s pianistic technique. Recalling the composer's Warsaw years, his father wrote that while practicing the instrument, Chopin devoted relatively little time to technique - preferring mental stress to physical stress, while he managed to learn other people's works within one hour, while others spent their entire days at the keyboard. 133]. Penetration into the musical image of a composition allowed Chopin to learn even other people's compositions as expediently as possible, based on their musical logic.

Later, when he was already a practicing teacher in Paris, Chopin stopped his students from practicing for many hours, not unreasonably believing that the desired result could be achieved in a much shorter time, and the extra hours spent at the instrument only prove that the student5 does not understand what he should do. pay attention when practicing. Chopin was well aware that virtuosity as the optimal way of acting at the instrument, which also allows one to play quickly and accurately, does not depend on time; spent at the instrument, but on how much hearing and imagination lead the movements of the gaming machine. Thus, what helped Chopin most expediently organize the process of playing the piano was the fact that the position of his hands, as well as the manner of playing in general, were “auditory-dependent.”

Methodology for the integrated use of F. Chopin's creative heritage

Modern educational process, subject to the subject-content principle c. in relation to both general and special education, inherited from the field of scientific development such a historically established characteristic as increased differentiation of scientific directions. In the scientific sphere, the result of this strengthening was the priority of technocratic goals and a decrease in the importance of humanistic goals. However, compensation for the described process in science is possible through the synthesis of various directions, which allows the scientist to think in general cultural categories in order to maintain balance in scientific knowledge.

Culture acts as the most important regulatory element in the development of science and technology, being the basis for the ethical assessment of the results of this1 development. However, in modern higher1 education; few components are aimed at the formation of moral ethical positions from the point of view of which such an assessment is possible. The education system follows a parallel path to the development of science; as a result, she also found herself in a situation where intellectual development came to the fore, leaving other aspects of personality formation in the shadows. The growing role of technological progress has led to the dehumanization and dehumanization of education, a departure from the idea of ​​​​the formation of a moral personality.

In the context of a humanitarian worldview, the main task of an individual is to determine the meaning of what is happening, the ability to make independent judgment, choice, and action. In the context of the humanitarian educational paradigm, the ability to understand and create meaning is one of the main, deepest human traits. The possibility of developing such an ability is achieved through humanization - animation - of the entire structure of modern education; the process of humanization, in turn, is carried out through humanitarization, that is, the study of subjects of the humanitarian cycle and the introduction of humanitarian methods of revealing subjects.

Humanitarianization of education is understood as a system of measures aimed at the priority development of general cultural components in the content of education and thus at the formation of the personal maturity of students:

The most effective impact of the humanitarian environment is possible through the humanization of education. If the humanization of education implies the formation of an educational system that corresponds to humanistic values, then the humanitarization of education, in turn, characterizes a new quality of education associated with the educational and methodological content of teaching, aimed at introducing students to humanistic values.

In the modern information society, information as such can be presented with the help of modern computing power in a variety of aspects, which helps to comprehensively study the object or phenomenon in question. Information compiled in a different way, however, can lead to diametrically opposed conclusions, which further enhances the importance of a critical, independent assessment of the proposed data. Without evaluation, in turn, it is impossible to understand any phenomena, since, as M. M. Bakhtin rightly notes, understanding and evaluation are simultaneous and constitute a single integral act [see: 9]: Understanding, in turn, acquires a special role as a way of proactive organization8 of knowledge, based on the subjectivity, meaningfulness and integrity of all human activity. However, modern educational practice is characterized more by teaching skills and knowledge, rather than revealing the actual content side.

The goals of humanitarization of education are to overcome the one-dimensionality of the human personality, determined by professional training, as well as to form in the student the foundations of a humanistic worldview - as a means of introducing a young person into the sphere of spiritual and cultural values ​​as a counteract to the negative consequences of narrow specialization.

Understanding, as a necessary condition for assessment, requires active participation in the emotional-volitional sphere: “For many centuries, the human race has been developing only mental abilities. At the same time, the emotional world is becoming increasingly poor... It is impossible to achieve great results in education by influencing only the human mind. The sphere of feelings makes it possible to impart an existential, reverent quality to rational information; human meaning. Through it comes understanding, which draws to itself the boundless world of the human soul.”

Due to the fact that emotions express, in the most general form, the direct biased experience of the vital meaning of phenomena, their main function is assessment. Emotions evaluate the subjective significance of reflected objects and events, express it, and signal it to the subject. In Russian psychology, for a long time, emotional processes in humans have been studied much less intensively than cognitive processes. IN? in particular, L.S. Vygotsky in his works develops a dialectical-materialistic approach to the psychological study of emotions and feelings, believing it necessary to consider the emotional side in a dialectical relationship with the intellect; The scientist was based on the following views: “Whoever has torn thinking away from affect from the very beginning has forever closed the way to explaining the causes of thinking itself, because a deterministic analysis of thinking necessarily involves revealing the driving motives of thought, needs and interests, motivations and tendencies that direct movement of thought in one direction or another."

The idea of ​​the unity of cognitive and emotional processes permeates all the works of S.L. Rubinstein, finding expression in the conclusion about the unity of the emotional and intellectual in emotions. The scientist also noted the need to connect thinking with the affective sphere of a person, pointing out that mental processes have both a cognitive and an emotional-volitional side, expressing not only knowledge about phenomena, but also an attitude towards them: “Speech... is it not just about the fact that emotion is in unity and interrelation with the intellect or thinking with emotion, but about the fact that thinking itself, as a real mental process, is already itself? the unity of the intellectual and emotional, and emotion is the unity of the emotional and intellectual."

Department of History of Foreign Music
Department of History and Theory of Performing Arts
Research Center for the Methodology of Historical Musicology of the Moscow Conservatory

Scientific Conference
“The legacy of romanticism in modern science:
Schumann, Chopin, Liszt"

Conference program

• December 1, Thursday

12.30 - 14.00
Opening of the conference

Lecture by Prof. Eero Tarasti(University of Helsinki)
Fantasia in C major (op.17) by Robert Schumann in the light of existential semiotics

14.00 -15.00 Break

15.00
Sergei Vladimirovich Grokhotov(Moscow Conservatory)
Fryderyk Chopin and Biedermeier culture. To the problem statement

Konstantin Vladimirovich Zenkin(Moscow Conservatory)
On the mobility of structures in Liszt's works. From the romantic form-process to the “open” form

16. 00
Ekaterina Mikhailovna Tsareva(Moscow Conservatory)
Schumann and Liszt on Chopin

Vladimir Petrovich Chinaev(Moscow Conservatory)
Author - co-author - interpreter. The paradox of romantic sheet music

17. 00
Round table

• December 2, Friday

15. 00
Konstantin Anatolyevich Zhabinsky(Rostov Conservatory)
Musical dialogues of Chopin and Schumann (dedications and reflections)

Olga Pavlovna Saygushkina(St. Petersburg Conservatory)
Paganini's Capricci in transcriptions by Schumann and Liszt

16. 00
Alexander Mikhailovich Merkulov(Moscow Conservatory)
Piano arrangements of Schumann's music: history and modernity

Olga Vladimirovna Loseva(Moscow Conservatory)
Russians against Schumann, or “How not to orchestrate”

17. 00
Irina Arnoldovna Skvortsova(Moscow Conservatory)
Chopin. Lyadov. Scriabin. Through the prism of the mazurka genre

Round table

• December 3, Saturday

12. 00
Lyudmila Mikhailovna Kokoreva(Moscow Conservatory)
“I came out of Chopin’s Fourth Ballade” (Debussy)

Ekaterina Vladimirovna Ivanova(Moscow Conservatory)
Two editions of F. Liszt “Fantasies and Fugues on a Theme BACH”

13. 00
Dmitry Anatolyevich Shumilin(Russian Institute of Art History, St. Petersburg)
F. Chopin's student M. A. Garder

Elena Markovna Shabshaevich(Moscow Conservatory)
Liszt's Moscow tour

Alexander Vladimirovich Naumov(Moscow Conservatory)
Between secret hostility and outright denial. Music by F. Chopin and F. Liszt in the play Sun. Meyerhold "Teacher Bubus"

Round table

The conference is supported by BP

Applications with a topic statement and abstracts of 4500 to 5000 characters will be accepted until October 1, 2011 at

We kindly request:

• send applications only if it is possible for you to participate in most of the conference sessions;
• together with the topic statement, indicate one of the thematic headings listed below.

The topic of the conference (all formulations imply coverage of the work and activities of Schumann, Chopin or Liszt).

• Individual composer style and style of the era
• Romantic composer in the context of the arts
• National as a problem of musical art
• Specifics of romantic programming
• Phenomena of the early or late work of the composer.
• Romantic composer and religious faith
• The composer is a man and an artist
• Issues of interpretation and editing
• Composer and traditions of romantic pianism
• Specifics of the romantic musical text and its performing interpretation
• Music autograph and its editions
• Composer in the musical art of the 20th and 21st centuries
• Composer in modern scientific concepts

In early November, the Organizing Committee will decide on the composition of participants and formulate the conference program.
Travel for conference participants is provided at the expense of sending organizations.
The issue of providing a free hotel will be decided by the Organizing Committee.

From the Organizing Committee,
K.V.Zenkin