Biography A Leshgorn

Author: Golikova Irina Yuryevna the introduction of one of the problems related to musical education is the development of students' technical abilities. In this regard, sketches are an integral part of musical development. For the most part, motor skills, coordination of movements are developed on them, applicant principles and the main formulas of movement are mastered, technical skill, articulation, and accuracy of sound production are improved.

Work on sketches allows you to actively develop auditory control, to educate such qualities as will, endurance, speed of reaction, thereby contributing to the activation and mobilization of the condition during music, it maintains good technical form. Work on sketches begins with the very first steps and continues throughout the fulfillment. Studies are simple and concise in form and content, the same type by textured presentation, and this contributes to the effective solution of individual tasks in the development of piano technology.

Thanks to this property, the studies are widely used in pedagogical practice. Brief biographical information Karl Albert Leshgorn Leshorn. Carl Albert Loschhorn, June 27-June 4-German pianist-pedagogue and composer. Student Ludwig Berger. From the year he taught a piano game at the Royal Institute of Church Music in Berlin. In the year he was awarded the title of professor. His creation called the "song of the waterfall" English is also widely known.

Song of the Waterfall. The author of the book called “Fuhrer Durch Die Klavier - Literatur”, the first version of which was published with I. Weiss under the title “Wegweiser in Der Pianoforte - Literatur”. The Etude Magazine in the article “Gather Memories! Liszt, one person from Petrograd spoke about his meeting with Leshgorn, which occurred when the first returned to his hometown.

He described the musician like this: “I knew him, but slightly, good enough only to exchange greetings, and sometimes in order to grind a few words when meeting on the street. Among the musicians of the time when I studied in Berlin, it was well known that he taught the playing piano to the piano of the younger classes of ten to eleven hours a day, and wrote sketches on Sundays.

He was never seen at concerts or operas. But, having lived in this villa for three years, in connection with material difficulties, he had to sell it and later another year to resume the teaching of the game on the piano. After his death in the year, Karl Albert Leshgorn was ranked to the Church of the twelve apostles. Description of the collection of studies Op.

Studies A. Leshgorn are designed for the period of the formation and development of motor skills of pianist students. Correct landing behind the instrument, various receptions of sound recovery, involving the naturalness and rationality of the movements of the hands, good contact of the fingertips with the keys is the basis, without which the student’s technical development is inconceivable.

Leshgorn betrayed great attention to preparatory work on sketches. He believed that for the successful analysis, technical development, then - a bright performance, systematic work on skillfully selected and various exercises is important. A pianist must go through these stages. Without following the indicated path from the very beginning, he will have to turn to him later, regretting the lost time "M.

Long, children do not always show proper interest, and often perform it sluggishly. This work should be done, possibly more attractive to the student. For each sketch. Leshgorn gives its preparatory exercise. This controls the learning of the study. It makes it possible to quickly cope with the technical difficulties of the study. These studies play an important role in the education of coordination of hands, which is the key to motor and technical freedom.

It is built on the coordinated movements of both hands in gamma -shaped passages. In the work, the student should achieve evenness and the singing sound of the sixteenth notes, a finger Legato, based on smooth coordinated movements of both hands. The movement of the fingers should be regulated by the whole hand, by smooth fluctuing the wrist, which is in a lower position when supporting the first finger.

It is necessary to include sound control for the batch of the left hand, making it leading and more convex in dynamically. The choice of the correct pace is of great importance. It should be based on the desire for quality, and not for record speed. Contrast dynamics when learning passages is very useful. Meaningful work on the study will contribute to the development of evenness and fluidity of the fingers, subject to coordination of both hands.

Leshgorn develops it in a variety of versions-these are long, short, broken arpeggio, arpeggio with alternating hands, a combination of arpeggio with any other type of technology is found. Without possession of the arpeggio technique, it is impossible to perform sonata, piano concerts of Haydn, Mozart, Beethoven.It is she who helps to liberate the pianistic apparatus, contributes to the development of independence, independence, strength of the fingers, flexibility, elasticity of the elbow and cystic joints, the production of smooth, free breathing, sensation of natural convenient movement.

The execution of arpeggio has its characteristic features associated with the greater breadth of the keyboard coverage. Hand movements become much more diverse. Good execution of arpeggio requires smooth, flexible transfer of hand from position to position with the minimum turn of the elbow, the necessary dexterity of the hands when changing positions.

The octave technique helps to strengthen the pianistic apparatus of students, opens access to complex octave constructions in the works of Beethoven, Liszt, Rachmaninov. The octaves develop the flexibility of the arm, the clarity and activity of the fifth and fourth fingers, the accuracy and dexterity of the thumb. When learning octave sketches, it is most advisable, without changing the text, to play a study in various ways of sounding, using various techniques for the execution of the octave, and then use rhythmic options.

Goldenweiser recommends learning octave studies, playing only the lower voice of the octave with the first finger of the right hand in the left hand - the upper voice. The rest of the fingers should be collected and slightly pressed to the palm of your hand, of course, without any tension of the fingers and brush. This exercise contributes to the development of the lightness and mobility of the cystic movement with the fingers collected and, especially useful for students with a small hand, in which, when playing with octaves, a brush is often strained due to stretching of the fingers.

Terctions are for students the complexity contained in the simultaneous conduct of two votes with different fingers in structure and strength. This is a complex type of pianistic technique, useful in the development of activity, independence of the fingers, the emancipation of the palmar muscles. Terctions allow you to feel great contact with the tool, contributes to the inner sense of the convenience of the entire pianist apparatus, the flexibility of the terrestrial line.

The brightness of the articulation of the melodic line of the territory depends on the active fingers working from the wrist. It is necessary to make "microvsdokhi", dropping the accumulated fatigue, clamping in the hand, fingers and elbows. Double notes, like the territory, should be performed by a legato, it is advisable to play each voice separately, preserving the applique of double notes.

You should not forget about the role of accompaniment. Rehearsals this type of technique can be considered one of the most effective ways to achieve flexibility and fluidity of the fingers. In this type of technology, the main sliding of the fingers under the palm of the palm is the main thing, the actions of the fingers resemble “scratching”. The finger acts with a sharp movement and after the blow instantly goes under the palm of your hand, giving way to the next finger.

Fingers are quickly removed from the keys and do not plunge deeply in them. Mechanics of the piano, allowing the fingers, only “hitting” the key, get the sound. The hand does not participate in sound production and should not remain absolutely free. A prerequisite for rehearsals is the collected shape of the palm. Rehearsals should be developed at different pace - from slow to fast.

The slow pace is necessary for honing a finger blow. The sooner the pace of rehearsals, the closer to the keys should be the fingers, while the movement of the scope is reduced and replaced by gliding the ends of the fingers under the palm of the palm of your hand, using the rise and lowering the hand up, down, which helps to free up the hand. For the development of the “independence” of the fingers, an exercise in the form of various lemon balm - Mordents, Groups, and short trifles that should be played in various versions is extremely useful.

It was believed that work on the trill significantly activates the fingers, brings up the finger vibrational lightness, that is, it forms the qualities necessary for successful mastery, in fact, by any type of technique. There are many preparatory exercises for the execution of trill, the most common is recommended: triols with accents. Oddly enough, sketches intended for the development of the techniques of trifles are in our time the least popular.

With this type of texture, the pianists prefer to master directly on the works of art, bypassing preliminary training, which often affects the quality of the execution of trill. The conclusion of the study of A. Leshgorn brings up the fluidity, evenness and independence of finger movements in students, which are combined with free, plastic, combining the movements of the whole arm, develop a holistic sensation of fingers and brushes, stability, combined with freedom, all arms, shoulder and back.

Work on technology in the sketches of A. Leshgorn is not only in achieving quality and speed, but also in the diversity of sound. Unlike instructive studies, these studies represent a romantic character. Each of them requires expressiveness, juiciness and smoothness of sound, the correct transmission of the image, the emotional system of the work. Studies are an indispensable material for the development of musical thinking, raising the independence of students.Most sketches are an independent artistic work, and therefore become a “magic key” to understand many musical styles.