NOCTURNE E MOLL OP. 72 BY F. CHOPIN IN TERMS OF THE MAIN PEDAGOGICAL AND PERFORMANCE TASKS OF THE PIANO CLASS

Abstract

History rightly inscribed the name of Frederic Chopin in its scrolls. The powerful note of Polish nationality and passionate attachment to his homeland never faded in the heart of F. Chopin. It drew a majestic, deep line in his creations. The power of the tragedy of Chopinʼs music is not inferior to its pervasive lyricism. A special place in the composerʼs work belongs to his nineteen nocturnes. It is in them, as in no other works by F. Chopin, that the intimate, lyrical beginning of his art is concentrated. Features of the latest chamber pianism found in them with emphasized clarity. Features of salon sophistication, which was perceived as the antithesis of vulgar pop music, common in the virtuoso piano music of that time, are also clearly expressed in these works. Due to the dominance of melodic beginning and the uniformity of accompaniment F. Chopinʼs nocturnes marked by a special immediacy of expression and accessibility of perception. The aim of the work is to determine the features and specifics of the Nocturne e-moll op. 72 by F. Chopin in terms of the main pedagogical and performance tasks of the piano class. The research methodology consists in reliance on the established positions of classical Chopin studies (works of I. Belza, Yu. Kremlev, V. Zuckerman, etc.) in combination with recognized methods in the field of piano pedagogy and performance (L. Gakkel, J. Hoffman, O. Katrych, V. Gornostaeva, L. Kasyanenko and others). The scientific novelty of the work is determined by a comprehensive approach to solving intonation and performance problems in the study of F. Chopinʼs nocturnes in art institutions of various types. The conclusions are to determine the figurative content, form of the play, primary and secondary genre features of the work, the role of texture, tonal movement of the composition, the correlation of melody and accompaniment, awareness of the dramatic function of different sections of the form, phased work on different types of technical tasks and ways to overcome technical difficulties, the need to develop legato skills, pedaling techniques and rubato.