Piano video-entailments of postavanguard - on example creative activity to V.Silvestrov and his contemporary in practice of estrade-philharmonic presentation

The purpose of the article is to trail dug the piano way of talking in music specified temporary volume of pоstаvаnguаrd on the material to corresponding works of Ukrainian and foreign composer and their performance decisions. The methodology is conditioned by handhold on the culturology measurement to histories and on intonation concept of the music асафьевской to traditions of B. Asafijev, in which is chosen style cоmpаrison of epochal manifestations in the development of the approach of G. Adler and his legal successor in modern science of culture and scientific prospectings on questions of art. Scientific novelty of the study is concluded in separation video-potential in vаnguard piano-clavier symbolism that will add the piano literature of the possibility in theatrical gestures entailments in contemporaneity, noted need of complex type аrtistic of presentations to author's compositions. Conclusions. The analysis of the concrete works of ukrainian master and their contemporary on epoch pоstvanguard to end XX - begin XXI centuries, composition of V. Silvestrov, O. Kozarenko, E. Denisov, others, demonstrates: first, the act of concentration on clavier possibility of piano expressions, which can unite and since of оrchestra-piano effects, but, secondly, зкщоусе of the work itself with definite scenic sign appearances of the performers or program reference appearance visual impressions, which tend to be realized in the modern condition of theatric type philharmonic performance. The generalizations for specifics of post-vanguard in Slavonic music with "effaced" border between vanguard and post-vanguard is approved by the practice of the performance, in which conservatively given video-demonstration of the instrumental game to 1970-s close is sated video-means of modern artistic presentations.

Piano Concertos for the Left Hand by Ravel and Prokofiev: Two Answers to One Order

Пианист Пауль Витгенштейн, желая расширить и обновить свой концертный репертуар, внес в XX веке существенный вклад в фортепианную литературу для левой руки. В 1929–1930 годах он заказывает фортепианный концерт сначала Морису Равелю, а затем Сергею Прокофьеву. Это оказалось возможным благодаря наследству, полученному пианистом после смерти отца — сталелитейного магната Карла Витгенштейна. Если Равелю удалось, хоть и не полностью, удовлетворить потребности заказчика, то Прокофьеву было вовсе отказано в исполнении его музыки. Одной из главных причин неудачи Прокофьева можно считать творческий кризис конца зарубежного периода, когда композитор находился в поисках нового музыкального языка — «новой простоты». В статье прослеживается и сравнивается судьба этих произведений; устанавливаются причины сравнительной невостребованности концерта Прокофьева исполнителями; анализируется композиция, фортепианная фактура и техника, оркестровка. Освещены биографические факты из жизни Пауля Витгенштейна, а также непростые отношения между заказчиком и композиторами. In the twentieth century, the one-armed pianist Paul Wittgenstein made a significant contribution to piano literature for the left hand, which was due to his wish to broaden and update his concert repertoire. In 1929–1930 he ordered a left-handed piano concerto first to Maurice Ravel and then to Sergei Prokofiev. It was possible through the inheritance that Wittgenstein received after the death of his father, the steel magnate Karl Wittgenstein. While Ravel was able to meet the client’s needs, though not completely, Prokofiev was completely denied the performance of his music. One of the main reasons for Prokofiev’s failure might be the creative crisis of the end of the foreign period, when the composer was in search of a new musical language — “the new simplicity”. The article traces and compares the destiny of these piano concertos, specifying the reasons for the relative lack of demand for Prokofiev’s left-handed concerto on behalf of performers. The article also analyzes music, piano texture and technique, form, orchestration of the lefthanded concertos. Special attention is paid to biographical facts from Paul Wittgenstein’s life, as well as uneasy relationship between the client and the composers.

Approaching new piano literature: composition and interpretation of four piano etudes

In the literature for solo instrument, etudes typically present different kinds of technical and expressive challenges. In fact, they often focus on unique and problematic aspects of performance on a specific instrument. The short group of piano etudes presented here has the same purpose, although, in some cases, it recalls writing techniques and melodic-rhythmical modules usually associated with composers and styles of both the past and present times. In this article in particular, four etudes (Scales, Expressive Fingering, Parallel Thirds and Broken Octaves) are briefly described and analyzed from both a compositional and an interpretive approach, given the case that both the composer and the interpreter were in contact during the creative and learning process of the pieces. The result of this kind of collaboration is twofold: a composition whose playability and effectiveness are warranted by the practice of the interpreter, and a performance with a better understanding of the direct wishes of the composer.

Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators

Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this purpose, interviews are carried out by asking semi-structured interview questions to piano instructors who are using this work in their education process and working in Music Education Departments. The results of the interviews are determined into themes and codes using the qualitative research analysis program NVivo11. As a result, it is observed that the usage frequency in the direction of the themes and the recommended levels to use in the students vary, but the works contribute to piano education in terms of piano techniques, aksak measures, nuances, expressions, tempo and polyphonic techniques. It has also been proposed to increase the frequency of usage of Duyuşlar. It is thought that this study will contribute to the field of piano education in terms of the limited literature about this composition.

Integration and Exploration

Chapter 8 integrates the adaptive strategies outlined in previous chapters and presents tables that small-handed pianists can use to diagnose and resolve commonly encountered problems. These tables focus on broad categories where obstacles encountered by pianists with small hands can be found—chords, arpeggios, leaps, octaves, broken intervals, legato, and voicing. The tables outline solutions drawn from throughout the book, thus integrating a variety of approaches to each problem. The effectiveness of these tools in a particular context should be evaluated on the basis of sound, comfort, reliability, and ease of execution. Examples from the intermediate and advanced piano literature are used to demonstrate a synthesized approach to problem solving.

Redistribution

Chapter 4, the first of several chapters devoted to specific alternative strategies for small-handed players, shows how redistributing notes--taking notes with the left hand that are meant to be taken by the right, or the reverse--can mitigate or even eliminate problems caused by small handedness. To redistribute notes, the pianist must mentally reconfigure note distributions printed on the score and translate that information into action. The difficulty of this task may explain why redistribution is underutilized as an adaptive approach. Inventive solutions to common challenges found in a wide range of pedagogical and concert piano literature are presented. Specific areas of focus include: uncrossing parts; eliminating stretches in chords and arpeggios; facilitating leaps or hand shifts; increasing accuracy, power, and control; maintaining more neutral hand and wrist positions; facilitating trills and tremolos; maintaining legato and line; and projecting harmony.

Adaptive Strategies for Small-Handed Pianists

Adaptive Strategies for Small-Handed Pianists brings together information from ergonomics, physics, biomechanics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. Chapter 1 presents an overview from historical, anatomical, and pedagogical perspectives and includes a discussion of small-handedness as a risk factor for piano-related injury. Chapter 2 establishes a basic understanding of work efficiency and the human anatomy, moves on to general observations about piano playing and the constraints of physics, and explains the principles of healthy movement at the piano. Chapter 3 is a focused analysis of piano technique as it relates to small-handedness. Chapters 4 to 7 deal with specific alternative approaches: redistribution, refingering, ways to maximize reach and power, and musical solutions for technical problems. Hundreds of examples taken from the standard intermediate and advanced piano literature show concrete applications of these strategies within appropriate musical contexts. Chapter 8 presents tables that pianists can use to diagnose and resolve commonly encountered problems and synthesizes the adaptive approaches outlined in the book. Reflective application points are provided as guides to further exploration. The book demonstrates that the specific physical and musical needs of the small-handed can be addressed in sensitive and appropriate ways and illuminates alternative paths to help pianists with small hands reach their musical goals.

How to Perform Impossible Rhythms

This paper investigates a fairly common but seldom-studied rhythmic notation in the nineteenth-century piano literature, in which duplets in one voice occur against triplets in another, and the second duplet shares its notehead with the third triplet—a logical impossibility, as the former note should theoretically fall halfway through the beat, the latter two-thirds of the way. Examples are given from the works of several composers, especially Brahms, who employed such notations throughout his career. Several alternative realizations are discussed and demonstrated in audio examples; the most appropriate performance strategy is seen to vary from one example to another. Impossibilities of type1⁄2=2⁄3, as described above, are the most common, but many other types occur. Connections between such rhythmic impossibilities and the controversy surrounding assimilation of dotted rhythms and triplets are considered; the two phenomena are related, but typically arise in different repertoires. A few other types of impossible notations are shown, concluding with an example from Scriabin’s Prelude in C Major, op. 11, no. 1, in which triplets and quintuplets occur in complex superposition. The notation implies several features of alignment that cannot all be realized at once; recorded examples illustrate that a variety of realizations are viable in performance.

The Harpers’ Legacy: Irish National Airs and Pianoforte Composers

Ireland’s harpers were part of an ancient culture and they left behind an unique and important legacy of indigenous art. The harpers’ airs enjoyed renewed popularity during the nineteenth century when visiting virtuosi to Ireland extemporized on the best-known melodies. Among these musicians were some of the most highly regarded pianist-composers of the era, including Frédéric Kalkbrenner, Ignaz Moscheles and, later still, Henri Herz, Franz Liszt and Sigismund Thalberg. In addition, a substantial number of pieces were published for the drawing-room market. This article charts the rise and fall in popularity of Irish airs in nineteenth-century piano literature and aims to provide reasons for these trends. It shows that Thomas Moore’s almost universally-known drawing-room songs, the Irish Melodies, exerted an influence. But, while these songs may have prompted significant activity among nineteenth-century Irish and Continental musicians, Moore’s role was by no means exclusive. Irish airs were in vogue in the eighteenth century, and even earlier. A catalogue of around 500 works published between c1770 and c1940, included as an appendix to the article, demonstrates the diversity and surprisingly wide-ranging nature of this virtually unknown repertoire.