CC BY
12THE GENRE OF THE ETUDE AND IN THE WORKS OF COMPOSERS
M.CLEMENTI AND K. CZERNY
Dilirom Ismoilovna Musayeva Baxtiyor Husainovich Jo'rayev Fergana regional branch of UzSIAC
Abstract: This article highlights the genre of the etude in the works of the great composers Clementi and Czerny and gives methodological advice and recommendations on how to perform correctly, not only technically but also artistically.
Keywords: clementi, czerny, "Gradus ad Parnassum", virtuoso pianist, finger fluency
The end of the 18th century and the beginning of the 19th century were times of rapid development in piano art. The piano is becoming widespread. It becomes a popular concert instrument. It is used in domestic life and for teaching music. The increased specialization in all spheres of culture at this time gradually led to the division of the musician's profession: in place of the composer-improviser-performer in one person, the characteristic figure of that time is a virtuoso composer, even a virtuoso composer. Among the virtuosos of that time, there were serious musicians who set truly artistic goals in their composing and performing activities. But there were also quite a few salon virtuosos who were engaged in writing and performing brilliant, insignificant pieces with all sorts of spectacular piano difficulties. The largest centers of musical and performing culture at the turn of the 18th and 19th centuries were London and Vienna. The London and Vienna piano schools were formed here. The founder and head of the London School of Piano was the Italian composer, virtuoso pianist, and teacher Muzio Clementi (1752-1832). Clementi was one of the greatest virtuosos of his time. His contribution to the field of piano pedagogy was great. His students were many pianists: Kramer, Field, Berger, Kalkbrenner, and Moscheles (they largely determined the development of piano art in the 19th century).
Clementi's "London Piano School" was associated with the artistic principles My3bianbHoro of the colonial classicism era. The performer was faced with new tasks. The rapid flourishing of the piano art led to the fact that,having inherited the technique of clavirism, the piano at this time was already far advanced in terms of technical means. Playing the piano required modern techniques of performance since the mechanics of this instrument were radically different from those of the harpsichord. If the harpsichordist did not face the problem of developing the power of the fingers,since the keyboard of the harpsichord was light and the sound did not depend on the force of
pressing the key,then this issue became extremely important when playing the piano. The new technique required clarity, strength, and speed of impact in order to convey the dynamic shades of the work. In this respect, Clementi was the first founding teacher of a school that played a significant role in the history of pianism. He was one of the first to expand the new sound capabilities of the piano and its advantages over the harpsichord, so Clementi was called the "father of piano music by his contemporaries. His technique had an artistic justification of technical principles that was based on the maximum development of finger techniques. Developing it, Clementi proceeds from isolated finger movements. Hand movements,the use of weight, and hand pressure were considered necessary to avoid. The fingers had to be held in such a way that they seemed to turn into small hammers. In chord structures, to enhance sonority, he used the technique of dropping the entire hand on the keyboard with a strong support on the fingertips. This method of extracting "fortissimo" was a hallmark of his school. Exercises and etudes served as the basis for forming the student's technique. First of all, they tried to develop strength, evenness, independence, and fluency of fingers. We started training with 5-finger exercises. The student had to put his hand on five keys— the right in one octave, the left in the other—and then slowly and ^hmca very loudly,raising his fingers high, tap out the corresponding sounds. After these exercises,trills,double notes, octaves, and other technical formulas were studied. It was necessary to play these exercises for a long time and systematically. They were used to train not only students but also virtuosos.One of the earliest outstanding examples of instructional studies is Clementi's "Step to Parnassuscollection ( «Gradus ad Parnassum»). This is the first collection of etudes in the history of pianism,which is like an encyclopedia of piano technique. It consists of three volumes and includes one hundred works,which in fact cannot be called etudes. It is rather a textbook dedicated to various forms and styles of piano music. This collection includes fugues, canons,scherzo, capriccio, rondo, "dramatic skit," and many etudes. It is they who have become widespread in pedagogical practice (currently, a collection of 29 selected studies edited by Tausig is usually used). Along with purely technical studies, in which the same task is developed from beginning to end,many studies are rather plays in which certain tasks are subordinated to the artistic content.Clementi's etudes are designed primarily for the development of hammered finger techniques of the positional type. They are based on a variety of finger sequences, usually repeated many times - in one place or sequentially, in an unchanged or varied form, sometimes with the addition of sustained sounds. Often, there are tasks to strengthen the 4th and 5th fingers. There are etudes for developing the power of impact, in which each finger alternately presses the same key while the other fingers withstand chord sounds. To strengthen and develop the independence of the fingers, various combinations of broken chords are used. Clementi attached great importance to the active laying of the
first finger. Many of Clementi's sketches are designed for the development of finger fluency: purely positional; sequential constructions; mixed types of figuration. A significant place in the collection "Gradus" is occupied by etudes on broken arpeggios and octaves, as well as on double notes of thirds, sexts, and quarts. In general, these pieces give a clear idea of the principles of the development of piano virtuosity from the standpoint of the Clementi school. In the collection "Gradus," you can find samples of the new piano style, which, at the beginning of the 19th century, was born together with the romantic direction in music. Here we find pages that are characteristic of Weber and Schubert and even anticipate the stylistic features of later representatives of Romanticism - Schumann and Chopin. So, for example, in etude No. 2, the middle part is similar not only in terms of technical drawing but also in terms of melodic line and harmonic plan to the episodes from Perpetuum Mobile. How much Clementi anticipated the piano colors of the Romantics can be judged from a number of other studies. For example,the melodious, melodious etude g-moll No. 48 was created by the VGK three-part presentation, in which the leading melodic line and the accompanying voice pass in the right hand . Of particular interest as an example of a new piano style is etude No. 5 In-dur, where the melodic figuration approaches Chopin's pianism.Thus, Clementi can be considered the founder of the instructional study, which developed certain technical skills. His etudes were designed to develop a hammered finger technique. Many of his sketches were essentially works of art and served the harmonious, holistic development of students. Clementi's great achievement is that he was the founder of a harmonious and consistent school of piano technique at the beginning of the 19th century.
The further evolution of the etude is connected with the work of the outstanding piano etude and piano master Karl Czerny (1791-1857). He was a man of versatile activity and phenomenal efficiency. Already at the age of 14, he enjoyed fame as a teacher. Such virtuoso musicians as Liszt, Leshetitsky, Dieter,Ziloti, Esipova,Deler, and Kulak came out of his school. Czerny was an extraordinarily prolific composer; he wrote more than a thousand works (861 opus). His work combined features of classicism and salon romanticism. In the genre of etudes,Cerny, continuing the tradition of Clementi, writes instructional sketches. Czerny's vast legacy of piano instruction literature includes works of varying difficulty. Currently, three collections are widely used: at the DMSH, the collection "Selected Etudes," edited by G. Germer; at the music school, "The School of Fluency," op. 299; and "The Art of Finger Fluency," op. 740. Cherni,creating his etudes and exercises for an instructive plan, sought to set the technical problem as clearly as possible, excluding anything that might have hindered its implementation. He specially created his etudes, unassuming and exclusively purposeful, because for himself he set the following task: his compositions were designed to help master the trouble-free piano technique. Obviously, for Cherny,
with his rational mindset, the type of instructional study that has a purely applied training value was closer. Moreover, it was this type of etude that corresponded more to the spirit of the era, since in the 30s and 40s of the 19th century, interest in the problems of piano technique increased, to the development of which Cherni fully devoted his energies. But he did not consider performing technique only as the sum of certain motor skills; his etudes set specific musical and sound tasks and provided an opportunity to master a variety of dynamic gradations and articulation principles. Czerny's etudes and exercises are a fundamental school of consistent mastery of technical skills. From the simplest,elementary technical formulas presented in the collections of etudes op. 139, 481, 399, Cheni leads the performer to tasks of the highest virtuoso difficulty. This purpose is served by the "Virtuoso School," Op. 365, etudes p. 818, and others. Creating works of the etude genre,Czerny even took into account the different structures of the performers' hands. For example,he devoted collections to pianists with small hands. "25 exercises for small hands," Op. 748, and "32 exercises for small hands," Op. 848 Perhaps there is not a single aspect of the texture and type of piano presentation of the first half of the 19th century that Czerny did not pay attention to. His etudes and exercises provide rich material for mastering the types of piano techniques associated with putting the first finger in - all kinds of scales and arpeggios. They thoroughly prepare you for mastering double notes. In the etudes and exercises, the technique of decoration is widely presented: various kinds of mordents, forshlags, and trills. A significant place is given to the rehearsal, octave, and chord texture. You can find works with a multi-element musical fabric that prepare you for jumps in the parts of both hands, for tremolo, and for compositions that develop polyrhythmic skills. It is also important to note that the main attention in his etudes and exercises is paid to the most characteristic formulas of piano texture, which are found in the works of Beethoven, Weber, Mendelssohn, Chopin, Schumann, and Liszt. These new technical formulas developed by Czerny in his etudes had a certain influence on the fingering instructions in these compositions. In a number of compositions, he makes extensive use of the techniques of sliding and shifting fingers that are characteristic of the pianism of Chopin and Liszt. Cherni also uses positional fingering. Using various types of piano presentation in etudes and exercises, Czerny still brought to the fore the problems of fine linear technique, rightly believing that it is a "stumbling block" for the vast majority of pianists.
References
1. Ганова Н.П, Кроха Е.С. Жанр этюда и его эволюция. г. Новокузнецк , 2019
2. 1.Алексеев, А. методика обучения игре на фортепиано - М. 1978.
3. Коган. Г. Работа пианиста - М. 1979.
4. Любомудрова, Н. Методика обучения игре на фортепиа - М., 1982.
5. Либерман, Е. Работа над фортепианной техникой М-1995.
6. Савшинский, С. Работа пианиста над техникой 1968.
7. Тимакин, Е.М. Воспитание пианиста - М.: Советский композитор, 1989.
8. Фейнберг, С. Пианизм как искусство М. 1965.
9. Цыпин. Г. Обучение игре на фортепиано - М 1984
10. Щапов, Л. Некоторые вопросы фортепианной техники - М.,1968
11. Yo'Ldashev, A., & Mahmudova, O. S. Q. (2022). PRIMA RUBOBNING YARATILISH TARIXI. Oriental Art and Culture, 3(3), 129-132.
12. Boboyev, V. (2022). KONSERT IJROCHILIGI REPERTUARINI SHAKLLANTIRISH. Oriental Art and Culture, 3(4), 323-325.
13. Mamatov, J. (2023). The secret of the violins of the Cremonese school. INTERNATIONAL JOURNAL OF INCLUSIVE AND SUSTAINABLE EDUCATION, 2(5), 79-81.
14. Topildiyev, S. (2022). AN'ANAVIY IJROCHILIK VA UNING RIVOJLANTIRISH YO'LLARI. Oriental Art and Culture, 3(2), 527-533.
