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The monograph is dedicated to the consideration of the aesthetic principles of "pure" pianism in the etudes and exercises of Karl Cherny. The structure of pianism is developed and its determinants are determined. A distinction is made between "pure" and "interpretative" forms of pianism. It is emphasized that K. Cherny's pianism reflects the prevailing ideal of his time, but his relationship to L. van Beethoven corrects his ideas about piano playing in general and pianism in particular. From these positions, two didactic works by K. Cherny are considered and his sketches and exercises on the…mehr

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Produktbeschreibung
The monograph is dedicated to the consideration of the aesthetic principles of "pure" pianism in the etudes and exercises of Karl Cherny. The structure of pianism is developed and its determinants are determined. A distinction is made between "pure" and "interpretative" forms of pianism. It is emphasized that K. Cherny's pianism reflects the prevailing ideal of his time, but his relationship to L. van Beethoven corrects his ideas about piano playing in general and pianism in particular. From these positions, two didactic works by K. Cherny are considered and his sketches and exercises on the material of op. 299, op. 740, op. 365. Attention is drawn to the presence of performance instructions in these collections aimed at understanding the teaching exercise as a musical phenomenon. The influence of K. Cherny's school on F. Liszt's etudes and modern music pedagogy is traced.
Autorenporträt
Anton Genkin - pianiste concertiste, lauréat de concours internationaux, docteur en art musical, professeur associé, professeur au département de piano, membre de l'Union nationale ukrainienne de musique.