Prutskaya A.V. Piano performance trends and prospects in the context of modern culture

“You played so vividly”

Ivan Bessonov became the winner of the Eurovision International Competition for Young Musicians. Ivan received a ticket to the capital of Scotland on the Blue Bird project.

Ivan Bessonov was born in St. Petersburg. At the age of six he began studying piano. And in 10 years he became the winner of the Grand Prix of the International Youth Competition named after F. Chopin, received prizes from the championships “Young Talents of Russia”, Astana Piano Passion and the competition named after A. G. Rubinstein “Miniature in Russian Music”. The virtuoso became a laureate of the international Grand Piano Competition in Moscow and the “Young Talents” award from the St. Petersburg government.

Pianist Denis Matsuev told 360 that he first learned about Bessonov at the Blue Bird competition. The boy captivated him with his freedom, interpretation and talent.

Over the course of the year, he made a big leap both in his repertoire and in his playing. After winning Eurovision, Ivan does not relax; this morning he went to study. There is no time to relax. I will be waiting for him in Irkutsk at my festival

Denis Matsuevvirtuoso pianist.

It was Matsuev who advised sending the boy to Eurovision. Denis Leonidovich admitted that he watched Ivan’s performance and was proud of him.

At the competition, Bessonov received a standing ovation: the entire hall and the orchestra applauded him. Immediately after the performance, he was praised by the chief director of the BBC Scottish Symphony Orchestra, Thomas Dausgaard. "Fantastic! Simply amazing! You played so vividly!” - he exclaimed.

When the winner was announced, Ivan did not believe it. On the way to the stage, he asked several times whether the award was intended for him.

The pianist told “360” that he did not expect to win. I prepared as always: I focused on music, tried to gather myself inside - this is the main thing.

“Literally in a week I’m going to Matsuev’s festival “Stars on Baikal”, I will perform with the orchestra. Immediately after I go to Vladivostok, then I have several serious performances. There are platforms, there is a place for self-improvement. This is the first time I’ve heard about a cash prize, to be honest, so I don’t know how I’ll manage it. Performing with an orchestra is something, the conductor, it’s all great,” Bessonov shared his impressions.

According to the young musician, his loved ones always demand more from him. He himself believes that there should always be a “chair with nails.”

The incentive sometimes disappears from me, my parents return it to me. I didn’t feel any competition, I treat everyone very well, all these people are musicians. I don't see myself as a competitor at all. It's like we've been communicating since kindergarten

Ivan Bessonov pianist.

Foreign countries highlight talents in Russia

Pianist Nikolai Lugansky shared with “360” his impressions of the young performer. “I'm incredibly happy. His teacher is my very close friend and creative partner Vladimir Rudenko. I heard him, but very little. This is a very talented person. Now I can’t say that there are many such talents, but there are definitely a few people. My feeling is that there is no less talent among pianists,” said Lugansky.

Pianist Ivan Rudin knows Bessonov as a scholarship recipient of the Spivakov Foundation. According to the maestro, the boy is very gifted. “Now the main thing is that after success in this competition, he confirms it with work. Success does not come without difficulty, even for very gifted children,” Rudin told 360.

According to the musician, there are many talented children in Russia. “Unfortunately, our specificity is such that we pay attention to interesting people only when they are noticed somewhere far away, abroad. This is another reminder: let's pay attention to Russian children. We must believe that we can do a lot and that this is exactly the case,” Rudin urged.

Denis Matsuev said that Bessonov is only at the beginning of his creative career.

“This is one of the first steps onto the big stage. There is a lot of talent in Russia now. Our competitions prove that there is a large team of young talented musicians. 12- and 15-year-old children are already ready to glorify our school. We have unique talents coming from small towns that we must help,” concluded the virtuoso pianist.

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When Elisey Mysin sits down at the piano and music begins to flow from under his fingers, it’s hard to believe that he is five years old. He can’t yet reach the piano pedals with his feet, and the height of the chair has to be increased for him with the help of a pillow. However, talent and hard work have already helped the Stavropol prodigy to win the high praise of professionals and the love of the public from different parts of the country.

After Elisey performed the first part of Johann Sebastian Bach’s Concerto in F minor for piano and orchestra on one of the Russian TV channels, the famous virtuoso Denis Matsuev played his original piece “Tornado” with the boy four hands and invited the little musician to the foundation’s summer creative school "New names" in Suzdal. And the spectators who voted for him secured the pianist a ticket to the finals of the all-Russian competition for young talents “Blue Bird”.

In the hall of children's music school No. 1 in Stavropol, where Elisha Mysin studies in the preparatory department, there is a large banner with his photograph. Here the blond boy has long been nicknamed little Mozart. And for good reason - like the great Austrian composer, he began to get involved in music at the age of three, following his older sister.

According to Elisey’s mother Olga Mysina, she noticed her son’s abilities even before his birth. When daughter Lisa, who is graduating from music school this year, played the piano, the baby in her stomach actively reacted to etudes and sonatas, and in completely different ways.

And after Elisha began to reach the keys, he began to try to play himself and constantly asked his sister: Liz, do you do this? And, what’s most interesting, he was able to repeat the melody,” says Olga. - In general, he is always absorbed in music. Yesterday, for example, we were flying on a plane from Moscow, and he was humming something all the way. And in the hotel, seeing an old piano standing there for decoration, he immediately sat down to play. As a result, he gathered almost all the guests around him, who gave him a real standing ovation.

On New Year's Eve, Elisha wrote another play and called it very symbolically - "Mandarin"

The boy was not even three years old when his parents sent their son to the aesthetic development group of a music school. At the age of 3.5, the head of the piano department, Lyudmila Tikhomirova, began studying with him. The fact that good would come out of it was immediately noticeable, the teacher claims:

Elisha has good hands - flexible, soft and wide, as well as extraordinary hearing. Students play, for example, “In the Cave of the Mountain King” by Grieg, he listens, comes up and picks it up with one finger. He is also very hardworking and persistent, picking up instantly and then carefully working on every sound. And when something doesn’t work out, he gets very upset and angry. Not at me, like many, for setting such difficult tasks, but at myself.

It was these qualities that helped the little pianist, in just three weeks, with a break for a trip to another competition, learn and broadcast the first movement of Bach’s concerto, which is taught in high school music school.

Initially we planned to perform Tchaikovsky, but after the casting they called us and said that we needed a different repertoire. Until recently, I thought that we wouldn’t make it in time, but Elisha behaved like a real adult musician - until he managed to do everything right, it was impossible to drag him away from the piano,” the teacher admits.

Now the young virtuoso is also emerging as a composer. Following "Tornado", on New Year's Eve he wrote another play and called it very symbolically - "Tangerine".

Music lives in Elisha’s soul,” notes Lyudmila Danilovna. “And my task as a mentor is to help him continue to develop.” No star diseases! Yes, we are far ahead of the program, but you can’t jump over the accumulation of a base - you need to strengthen your hands, develop both technique and repertoire.

In life, the little pianist is modest and even shy. His falling popularity and constant requests to take selfies confuse him greatly. But when the boy sits down at the instrument and begins to finger the keys, he literally transforms before our eyes, becomes confident and free like a real artist. For him there are no spectators or judges, there is only music around.

When asked about his favorite composer, Elisha answers without hesitation:

The boy's plans are to learn to play the violin and organ. And my main dream is to have my own piano and perform with an orchestra at my own concert.

Despite the fact that piano lessons occupy most of the life of the Stavropol prodigy, he still manages to play football and chess, ride a bicycle and scooter in the yard, and assemble construction sets.

Many people write to me and say that Elisha probably did not have a normal childhood, but this is not so, Olga Mysina says about the sore point. - We just let the child do what he likes. And they went to Moscow for the competition only so that professionals would notice his talent and, perhaps, help him grow into a good pianist. But even if he chooses another profession in the future, music will definitely help him become a cultured, harmonious and sincere person. And this is the main thing for us.

Meanwhile

The all-Russian children's talent competition "Blue Bird", created by the VGTRK team, turned out to be so popular that the channel decided to extend it for a second season. Along with the jury, television viewers throughout Russia vote for the participants in the competition. “Blue Bird is the atmosphere of a real festival, the atmosphere of a real family. In my schedule, which includes 245 concerts for the next season, I will definitely come here and participate in this amazing project, because I know that the flow of applications is huge from all over the country and from absolutely different regions, this inspires me very much,” says Denis Matsuev, a Russian virtuoso pianist. Last season he was the host, and this season he became a member of the jury. “We are going to try a lot of things that we have never done before on television anywhere. This all expands the idea of ​​the Blue Bird competition - to inspire our viewers to look for talents in themselves, around themselves, among their friends, acquaintances, among their children,” - says Daria Zlatopolskaya, host of the All-Russian Blue Bird competition.

Technologies, developments" www.methodkabinet.rf

Iovenko Yulia Evgenievna, piano teacher MAOUK DOD Children's music school of Komsomolsk-on-Amur, Khabarovsk Territory

Myprojectdeals with problems of interpretation of piano music.

In it I will touch a little the topic of the history of piano performing art, and also touch on the issue of trends in modern performance pianism, I will talk about some pianists of our time who, in my opinion, are the best interpreters of this or that composer.

Music occupies a special place among the arts due to its specificity. Objectively existing in the form of musical notation, music needs the act of reconstruction by the performer, its artistic interpretation. In the very nature of music there is a dialectical unity of musical composition and performance.

Musical performance is always contemporary creativity, the creativity of a given era, even when the work itself is separated from it by a large period of time.

Depending on the era of development of piano music, pianists developed a certain style of performance, a certain manner of playing.

Keyboard period is a prehistory for piano performance. At this time, the type of practicing musician, the “playing composer”, takes shape. The basis of performing skills is creative improvisation. The virtuosity of such a musician came down not so much to technical perfection, but to the ability to “speak” to the audience using the instrument.

A new important stage in musical performance is dawning by the end of the 18th century with the promotion of a new solo instrument - the hammer piano. The increasing complexity of musical content has necessitated the need for precise musical notation, as well as the recording of special performance instructions.

Piano performance acquires emotional richness and dynamism.

By the end of the 18th century, a new form of music-making appeared - a public, paid concert. There is a division of labor between composer and performer.

Early 19th century A new type of musician is being formed - the “composing virtuoso”. New spatial and acoustic conditions (large concert halls) demanded greater sound power from performers. In order to enhance the psychological impact, elements of entertainment are introduced. The “play” of the face and hands becomes a means of spatial “sculpting” of the musical image. The audience is influenced by the virtuosic scope of the game, the bold flight of fantasy, and the colorful range of emotional shades.

And finally by mid-19th century and a musician-interpreter is being formed, an interpreter of someone else’s composer’s work. For the interpreter, the exclusively subjective nature of the performance gives way to interpretation, which sets before him objective artistic tasks - the disclosure, interpretation and transmission of the figurative structure of the musical work and the intention of its author.

Almost everything 19th century characterized by a powerful flourishing of piano performance. The performance becomes a second creation, where the interpreter finds himself on an equal footing with the composer. The main figure in the performing sphere is the wandering virtuoso in all his varieties - from piano “acrobats” to propaganda performers. The work of Chopin, Liszt, and the Rubinstein brothers is dominated by the idea of ​​the unity of artistic and technical principles; on the other hand, Kalkbrenner and Laugier set the main goal of educating a virtuoso student. The style of many masters of the 19th century was filled with such artistic willfulness that we would consider it completely tasteless and unacceptable.

XX century can safely be called the century of great pianists: there are so many in one period of time, it seems that there have never been them before. Paderewski, Hoffmann, Rachmaninov, Schnabel - at the beginning of the century, Richter, Gilels, Kempff - in the second half. The list can be expanded endlessly...

At the turn of XX-X I centuries The variety of interpretations is so great that it is sometimes not at all easy to understand them. Our time is a diversity of performing styles.

Modern art of playing the piano. What it is? What happens in it, what dies and what is born?

In general, the trend in piano performance art today, unlike, say, what it was even 50 years ago, is the priority of details over the general concept. It is in different interpretations of micro-details that modern performers want to find their individuality.

There is also the existence of an unspoken rule of execution: “there is no homophony. The entire piano texture is always completely polyphonic, and even stereophonic. A fundamental principle is connected with this: each finger is a separate and living and specific instrument, responsible for the duration and quality of sound” (quote from a lecture - lesson by Mikhail Arkadyev).

On April 26, one of the best Russian pianists Nikolai Lugansky turns 40 years old. The maestro told the Izvestia correspondent that he is not superstitious and agreed to celebrate his anniversary with an exclusive interview.

- Almost all top-class pianists are now coming up with festivals, funds, and promotions. Is this fuss not close to you?

There are still a few pianists who can afford to do nothing but the piano. Among the greats are Grigory Sokolov, Radu Lupu, Nelson Freire. I understand how this is a tiny fragment of the picture of life - performing on one single instrument. And the longer you do this, the less likely you are to do anything else. For example, smart instrumentalists start conducting very early. In this sense, I have already driven myself into a trap, but I don’t regret it yet.

- Do you look at pianists and violinists who have retrained as conductors without condemnation?

Without the slightest. Playing only the violin until old age is a real feat. Therefore, starting to conduct means making your future easier. There are examples when pianists reached a very high level in the conducting profession - Mikhail Pletnev, Daniel Barenboim. Assessing a conductor's skill is very complex and incredibly subjective.

- Why don’t conducting personally appeal to you?

What scares me away from this profession is the need to be a leader, to influence people, including on a non-musical level. Such properties are biologically alien to me. Once in my life I conducted during a rehearsal. Yes, it turned out to be more difficult than I thought. On the other hand, I still do not agree that you are not a conductor if you did not enter the appropriate faculty at the age of 18 and study for 5 years.

- Isn’t it necessary to influence people in pedagogy? You are a teacher.

Teacher - it’s loudly said, I just come to the class to listen to the students. When a student comes and plays a program, he gets excited, which means he is preparing for the concert. This is already a lesson.

- Are you comfortable with the pace of your life?

Not anymore. But comfort is not the best thing. I like the phrase “who said it had to be easy?” Sometimes I achieved something by trying to jump in over my head. My physical talent is not extraordinary; there are people with better hands.

- Can a pianist’s technique be done, or does nature decide everything?

Can. Volodos, Rudenko, Matsuev have a natural technique. Kissin's technique was created by himself and his teacher. Richter and Michelangeli practiced the piano for a huge number of hours, more and more every year.

-Are you a workaholic?

I never went through a period of binge drinking. I spent 6–7 hours a day not sitting at the piano, but listening to music. Having started traveling abroad at the age of 15, he spent almost all of his royalties on CDs. So I didn’t acquire armor-piercing piano equipment that can always pull out. But, I think, my musical horizons at the age of 18 were wider than those of my colleagues.

- If you play a false note at a concert, does it bother you?

Unfortunately, there are times when the offended note affects my condition. We must fight this. This is a difficult question - almost intimate hygiene.

- Is music “pure art”, or does it have ideas and content?

There is intramusical content, but it cannot be translated into words. But any person in the world will feel this content. Words touch a much narrower area of ​​life than music. Using words to talk about love, passion, fear, hatred? Well, about hatred a little simpler. Even if we take the best novels, the weakest points there are descriptions of love and passion.

- So, writers, in general, waste their lives in vain?

Remember how Faustus translates the Gospel of John? “In the beginning was the Word.” And Faust says: “I do not value words so highly as to think that they are the basis of everything.” And this is written by Goethe, who operated neither with sounds nor with pictures. A friend of mine said it very well: “No one can see the whole elephant. We can only see part of the elephant." Music is the art that perhaps most clearly sees the elephant as a whole.

- You are known as probably the furthest pianist of your generation from the Internet.

I don’t like the state I’m in when I spend half an hour on the Internet. Well, I just feel worse - some kind of screen, buttons. But I understand perfectly well that this is the greatest thing for all kinds of people living far from big cities.

- How do you feel about Moscow?

This is my hometown, the main events of my life took place here. But if you look through the eyes of a foreigner, then, along with New York, this is the most difficult city. New York is even a little more cheerful than Moscow. In terms of the absurdity of prices, Moscow is probably in second place after London.

- Do you feel the revival of public life in Russia in recent months?

The revival is peculiar. The masses of people are convinced that the most important thing is the confrontation between the authorities and the opposition. But the point is completely different. There is a fundamental economic question: whether land and natural resources can be owned by specific people or not. Different countries around the world give different answers to this question. Everywhere there is a different degree of circulation of money - even today, when for money you can do a lot, almost everything. In America, if you hand over $100 to a police officer, you risk being handcuffed. In Russia, the circulation of money is not limited by anything. You buy an oil field, you pay a doctor to do his duty to save a person's life, you pay a policeman, and so on. Both the current government, Nemtsov, and Kasyanov are in favor of unlimited circulation of money. Garry Kasparov will tell you that communism is dead. It's like saying "love is dead" or "music is dead." The idea that your work should benefit everyone living in the country has existed forever.

- I didn’t expect that you would be a supporter of leftist forces.

For the right, the fundamental idea is freedom, for the left, the idea of ​​justice. The idea of ​​freedom in our country is embodied in an exaggerated form, and the idea of ​​justice is trampled upon. Therefore, in the parliamentary elections I voted for the Communist Party of the Russian Federation - for lack of more left-wing parties.

- Okay, this is your choice from the four Duma factions. And of the four temperaments?

I am a melancholic person who is trying to be sanguine.

To recognize the world's only best contemporary pianist is an impossible task. For each critic and listener, different masters will be idols. And this is the strength of humanity: the world contains a considerable number of worthy and talented pianists.

Agrerich Marta Archerich

The pianist was born in the Argentine city of Buenos Aires in 1941. She took up the instrument at the age of three, and at the age of eight she made her public debut, at which she performed a concerto by Mozart himself.

The future virtuoso star studied with teachers such as Friedrich Gould, Arturo Ashkenazy and Stefan Michelangeli - some of the most outstanding classical pianists of the 20th century.

Since 1957, Argerich began to participate in competitive activities and won her first big victories: 1st place in the Geneva Piano Competition and the International Busoni Competition.

However, Martha’s real stunning success came at the moment when, at the age of 24, she was able to win the international Chopin competition in the city of Warsaw.

In 2005, she won the highest Grammy award for her performance of chamber works by composers Prokofiev and Ravel, and in 2006 for her performance of Beethoven's work with an orchestra.

Also in 2005, the pianist was awarded the Imperial Japanese Prize.

Her ardent playing and amazing technical skills, with the help of which she masterfully performs works by Russian composers Rachmaninov and Prokofiev, cannot leave anyone indifferent.

One of the most famous contemporary pianists in Russia is musician Evgeniy Igorevich Kisin.

He was born on October 10, 1971 in Moscow, and at the age of six he entered the Gnessin Music School. Anna Pavlovna Kantor became his first and only teacher for the rest of his life.

Since 1985, Kissin began to demonstrate his talent abroad. In 1987 he debuts in Western Europe.

Three years later, he conquers the United States, where he performs Chopin's 1st and 2nd concertos with the New York Philharmonic Orchestra, and a week later performs solo.

Another one of the most outstanding modern Russian virtuoso pianists is the famous Denis Matsuev.

Denis was born in the city of Irkutsk in 1975 into a family of musicians. Parents taught their children to art from an early age. The boy's first teacher was his grandmother Vera Rammul.

In 1993, Matsuev entered the Moscow State Conservatory, and 2 years later he became the leading soloist of the Moscow State Philharmonic.

He gained worldwide fame after winning the International Tchaikovsky Competition in 1998, when he was only 23 years old.

He prefers to combine his innovative approach to playing with the traditions of the Russian school of piano.

Since 2004, he has been holding a series of concerts called “Soloist Denis Matsuev,” inviting domestic and foreign leading orchestras to collaborate with him.

Christian Zimmerman

Christian Zimmerman (born 1956) is a renowned contemporary pianist of Polish origin. In addition to being an instrumentalist, he is also a conductor.

His initial music lessons were taught to him by his father, an amateur pianist. Christian then continued his studies with teacher Andrzej Jasinski in a private format, and then moved to the Katowice Conservatory.

He began giving his first concerts at the age of 6 and in 1975 won the Chopin Piano Competition, thereby becoming the youngest winner in history. Over the next year, he honed his piano skills with the famous Polish pianist Arthur Rubinstein.

Christian Zimmermann is considered a brilliant performer of Chopin's work. His discography includes recordings of all the piano concertos of Ravel, Beethoven, Brahms and, of course, his main idol, Chopin, as well as sound recordings of works by Liszt, Strauss and Respiha.

Since 1996 he has been teaching classes at the Basel Hochschule für Musik. Received the Chigi and Leonie Sonning Academy Awards.

In 1999 he created the Polish Festival Orchestra.

Wang Yujia is a Chinese representative of piano art. She gained fame thanks to her virtuoso and incredibly fast playing, for which she was awarded the pseudonym “Flying Fingers.”

The Chinese contemporary pianist's birthplace is Beijing, where she spent her childhood in a family of musicians. At the age of 6, she began her tests on the keyboard instrument, and a year later she entered the Central Conservatory of the capital. At the age of 11 she was enrolled to study in Canada and after 3 years she finally moved to a foreign country for further studies.

In 1998, she received the prize of the International Competition for Young Pianists in the city of Ettlingen, and in 2001, in addition to the award described above, the judges gave Wang an award awarded to pianists under 20 years old in the amount of 500,000 yen (in rubles - 300,000).

The pianist also plays Russian composers with success: she has recorded Rachmaninov’s Second and Third Concertos, as well as Prokofiev’s Second Concerto.

Fazil Say is a Turkish contemporary pianist and composer born in 1970. He studied at the Ankara Conservatory, and then in the cities of Germany - Berlin and Dusseldorf.

In addition to his piano work, it is worth noting his qualities as a composer: in 1987, the pianist’s composition “Black Hymns” was performed in honor of the 750th anniversary of the city.

In 2006, the premiere of his ballet “Patara” took place in Vienna, written on the basis of Mozart’s theme, but this time a piano sonata.

Two composers occupy an important place in Sai's performing piano repertoire: musical titans Bach and Mozart. At concerts he alternates classical compositions with his own.

In 2000, he made an unusual experiment, taking the risk of recording the ballet “The Rite of Spring” for two pianos, performing both parts with his own hands.

In 2013, he came under criminal investigation for statements on a social network concerning the topic of Islam. The Istanbul court concluded that the musician’s words were directed against the Muslim faith and sentenced Fazil Say to 10 years of suspended imprisonment.

That same year, the composer filed a petition for a retrial, the verdict of which was again confirmed in September.

Other

It is simply not possible to talk about all modern pianists in one article. Therefore, we list those whose names are significant today in the world of classical music:

• Daniel Barenboim from Israel;
• Yundi Li from China;
• From Russia;
• Murray Perahia from the United States of America;
• Mitsuko Uchida from Japan;
• from Russia and many other masters.