Музичне виконання як вияв творчого потенціалу майстерності виконавця (до 130-ліття з дня народження Генріха Нейгауза)

Abstract

У статті досліджено розвиток музично-виконавського мистецтва ХХ століття в контексті загального культурно-просвітницького руху в країні. Охарактеризовано становлення музичного виконання, що відображає специфічні риси композиторської творчості та виконавського мистецтва. Окреслено умови формування творчої обдаровності відомого музиканта-виконавця та музиканта-педагога Генріха Густавовича Нейгауза. Висвітлені деякі педагогічні принципи митця, що сформувались в роки його педагогічної діяльності у ВНЗ.

В статье исследовано развитие музыкально-исполнительского искусства периода ХХ столетия в контексте общего культурно-просветительского движения в стране. Охарактеризовано становление музыкального исполнения, которое отображает специфические черты композиторского искусства и исполнительского мастерства. Очерчены условия формирования творческой одаренности известного музыканта-исполнителя и музыканта-педагога Генриха Густавовича Нейгауза. Освещены некоторые педагогические принципы художника, которые сформировались в годы его педагогической деятельности ва ВУЗ.

The musical performance, due to which the musical composition presents to the audience in its real sound, is the most important link in the system of various types of musical creativity. Musical performance in its own way focuses on the manifestations of bright talented personalities of musicians-performers, and hence the development of musical culture of a particular socio-historical formation, reflecting the specific features of composer and performing arts. The research of problems of musical performance was and remains an important and actual task of contemporary musicology and musical pedagogy. It is at the center of attention of musicians-historians and musicians-theorists, musicians-teachers and musicians-performers, representatives of such scientific fields as culturology, aesthetics, interpretations, who seek to comprehensively comprehend and reveal the various aspects of this complex and interesting phenomenon. Significant changes in the scientific study of problems of musical creativity and musical and performing arts took place in the second half of the twentieth century. And it’s easy to explain. In the postwar years, society entered a new period of development, associated with the restoration and construction of factories, factories, schools, hospitals, the arrangement of their life, the development of culture, education, art. An overview of literature on this topic suggests that the process of musical performance in the second half of the twentieth century is covered fairly widely. The new millennium sets forth requirements related to the study of the manifestation of the creative potential of the personality of the artist-performer, which is the purpose of the proposed article. In the article the attention of the reader is proposed analysis of musical and creative activities G. Neuhaus. The development of creative talent of the musician, the musical environment surrounding the young musician is covered. Some pedagogical principles of G. Neuhaus, which were used by the maestro while working with their students are covered. Referring to the successes in the performance and musical-pedagogical activities of G. Neuhaus is not accidental. After all, the formation and development of piano art at the world level was carried out thanks to the creative work of the artist in his individual piano class, which later overwrote and took shape in a piano school. Realizing and contemplating the development of piano performance during the period of active pedagogical activity of G. Neuhaus, we can say that the game of the piano over the years of the twentieth century gained more and more popularity. Illuminating some of the pedagogical principles of G. Neuhaus, we note the following. Given that each musical composition involves its sounding (otherwise, no musical work will be heard). Voice overview can be considered as an interpretation of a musical text, which in a certain case can be perceived as “deploying” the life-destiny of the author-musician or deploying a particular historical situation. In order to reproduce such moments, the young performer, according to G. Neuhaus, must be a trained person. The conclusion to all of the foregoing is that the pedagogical principles of G. Neuhaus, which cover the main directions of musical and pedagogical activity of a great musician, and today are important in the process of educating a person whose activity reveals the inner essence of musical art, anticipating the active interaction of musical performance and pedagogy as a leading paradigm of educational science. The prospect of further searches can be the unity of the artistic and psychological orientation of future specialists, the achievement of interaction in the development of the general, artistic and musical culture of the individual in order to fully identify its creative forces in the process of musical performance.