Pedagogical wishes of Professor E. K. Virsaladze in the work on R. Schumann's "Symphonic Etudes" op. 13

Kaprin Aleksander Dmitrievich Postgraduate, Moscow State Conservatory, Department of History and Theory of Performing Arts 125009, Russia, Moscow region, Moscow, Bolshaya Nikitskaya str., 13/6 kaprin.alexander.@yandex.ru

On March 20, 2023, the concert of subscription No. 1 "To the 150th anniversary of S. V.'s birth" took place in the Great Hall of the Moscow Conservatory. Rachmaninoff": the concert took place on the birthday of the outstanding pianist S. T. Richter.

The Second Symphony e?moll op was performed. 27 S. V. Rachmaninoff and Piano Concerto a?moll Op. 54 by R. Schumann. Performers: Concert Symphony Orchestra of the Moscow Conservatory, artistic director and conductor – Anatoly Levin, soloist – Eliso Virsaladze. The performance of these works is very subtle, heartfelt, exciting.

Schumann in the works of Virsaladze is the most frequently performed composer by her. Richter considered Virsaladze "an incomparable performer of Schumann's works" ^{[1, p. 132]}. This is evidenced by her Schumann achievements – the I Prize at the IV International R. Schumann Competition (Zwickau, Germany, 1966), the R. Schumann National Prize, received in Germany in 1976. The music world recognized and appreciated the outstanding artist. Unforgettable are her interpretations of the works of the German romantic, which are practically everything in her repertoire.

Virsaladze is not only a well-known performer, but also a well-known teacher: professor of the Tchaikovsky Moscow State Conservatory, People's Artist of the Georgian SSR, People's Artist of the USSR, laureate of the VII World Festival of Youth and Students in Vienna, the All-Union Competition of Performing Musicians in Moscow, the II International Tchaikovsky Competition. In 1995-2011, she taught at the Munich Higher School of Music and Theater. Since 2010 – Professor at the Fiesole Music School near Florence. Visiting Professor at Tokyo College of Music.

She believes that there is a connection between performance and pedagogy: "... the process of working on a work with students reveals a lot to me. They have very interesting ideas, very fresh, although the embodiment may not always be perfect; eyes are opened to many things ..." ^{[3, p. 180]}.

This article will review for the first time the work of Professor E. K. Virsaladze in class on R. Schumann's "Symphonic Etudes" Op. 13 and give a small performance analysis of her performance in the Great Hall of the Moscow Conservatory The concert took place on April 16, 2010, on the 200th anniversary of R. Schumann's birth.

"Symphonic Etudes" is a variation cycle. On this occasion A. G. Rubinstein wrote: "... Beethoven brought the form of variations to the highest degree of perfection, but in the "Symphonic Etudes" Schumann almost went even further. It is true that this was facilitated by a significant improvement in the instrument, which gave Schumann more space. He called them "symphonic", probably because he tried to instrument on the piano, to choose the appropriate sonority of the instrument for each variation" ^{[2, p. 70]}.

Schumann in this work uses the theme for variations of the amateur musician Von Fricken (the father of Ernestine, Schumann's lover). In a letter to him , Schumann writes: "I would very much like to gradually elevate the funeral march to a majestic victorious procession and thereby introduce some dramatic interest <...> I would call this essay the best of my own" (5 p. 237).

Schumann creates a cycle of 12 etudes, and then writes five more etudes that have not been published. In 1891, Brahms restored these five Schumann etudes, which were published after the composer's death. They are defined as posthumous (op. posth.). Pianists can perform them at will in any sequence.

Let's consider the performance of "Symphonic Etudes", as Schumann originally thought of them (12 etudes).

E. K. Virsaladze's performance of "Symphonic Etudes" is very dynamically powerful, restrained in tempo, all virtuoso numbers and episodes are performed extremely accurately and clearly.

In the introduction (Theme), E. K. Virsaladze performs the main melody with a very bright and dense sound, almost on forte, the piano dynamics written out applies only to the accompaniment.

When working in a classroom with students, it is very important for E. K. Virsaladze that the student, when performing the main theme, plays it as legato as possible and not too slowly. She almost always lacks legato in classes with students. In her opinion, the theme should not be performed too long, otherwise it will discourage further interest from the listener. In addition, in the very first phrase, the league must be brought to an end (example 1).

Example 1. Theme, bars # 1-4 All musical examples are given according to the edition of Clara Schumann (Robert Schumanns Werke, Serie VII: F?r Pianoforte zu zwei H?nden Leipzig: Breitkopf & H?rtel, 1887. Plate R.S. 51).

The fermata on the second lobe of the 14th bar deserves special attention. E. K. Virsaladze says: "I never know how long it is necessary to hold this fermata, it all depends on the piano, acoustics, and so on, but the note a (la) (in the bass) must be heard" (example 2).

Example 2. Theme, bars # 13-16 Virsaladze believes that throughout the cycle, all dotted rhythms in all etudes should be performed from the dotted line itself from the eighths, from the sixteenth, and so on, to a strong fraction.

This is especially true of the last issue. Each sketch should be performed in such a way that the endings in the sentences are not drawn out, the pauses between the sketches are not too long, and the repetition of each "knee" would not be the same.

At the beginning of etude No. 1, the freedom of movement of the hands (especially the left) depends on the dynamics: the quieter, the "motionless" the hand. E. K. Virsaladze begins to play his left hand with a motionless hand with only his fingers, without taking his fingers off the keyboard, with the onset of poco a poco crescendo, the hand becomes freer.

In this sketch, in order to convey the character of alertness, you need to approach the tempo carefully ("Un poco pi vivo" should not be excessive), you do not need to specifically emphasize the difference between staccato (it should be performed slightly jerkily, but without much sharpness) and legato (a figure of four sixteenths under one league) (example 3).

Example 3.        Etude No. 1, bars No. 1-2 Also in this study, polyphony is extremely important.

The etude cannot be performed without a pedal at all, its presence is necessary in any case. During self-study, it is necessary to learn without a pedal, performing all polyphonic connections only with your fingers, to be able to play the entire etude without a pedal, carefully watching the polyphony, especially in 6-7 bars (example 4).

Example 4.        Etude No. 1, bars No. 6-7 In the same etude, in 9-10 bars, important phrasing leagues are written out that require a certain fingering (example 5).

You should start the league in the right-hand game with the third finger, because it is with such a fingering that legato will sound more natural. You can see this if you play a sketch without a pedal.

Example 5.        Etude No. 1, bars No. 9-10 The teacher recommends practicing more to play the etude without a pedal, as this can help in many episodes "by touch" to determine the necessary fingering to achieve the best finger legato.

This is one such example.

Here, in the 9th measure for the fourth part of the second and fourth sixteenth in the right hand, E. K. Virsaladze advises to perform "a little longer" (with the greatest attention), because "if you play the same, or rather, if you try to play the same, you will never succeed."

In classes with students, the teacher reminds each time that, starting this etude, you need to strive "for even more piano". This is her strict requirement. This indicates that there is no need to strive for a specific volume value here. Much more important is the fact of controlling the piano at each performance.

In etude No. 2, there is a pulsating, trembling chord accompaniment with a gradually increasing crescendo, against which short dotted exclamation motifs sound. All together creates the character of a feeling of anxious excitement in the performance of Virsaladze.

In the study of Eliso Konstantinovna wants the theme to be performed widely and freely, not depending on the chord accompaniment, while there was no excessive sound in the theme (example 6). Schumann wrote the etude in such a way that the chord accompaniment sounds during long notes in the theme. Therefore, it is enough to perform it rhythmically smoothly, without drowning out the long notes in the theme. And in the theme, all the dotted thirty-second ones should be performed a little earlier and a little longer than written out rhythmically. Then you will get a convincing division into an even accompaniment and a free theme, "they will not interfere with each other."

Example 6.        Etude No. 2, measure No. 1 The return to the reprise should be clearly at the pace, without any emphasis or delay.

The performance of the third etude combines a free theme in the left hand and a smooth accompaniment in the right, in which the abrupt stroke is very neat, slightly smoothed. But everything in unity creates a "flight" character.

Etude No. 3 should begin immediately without caesura. The end of each sentence (including repetitions, and there are four of them here) should not be the same. One time you can expand slightly, another time you can play exactly, but not equally all four times (the same applies to etude No. 5). In the first knee, Virsaladze draws attention to the two-voice in the left-hand party. The lower voice in the left hand provokes a "square phrase". Despite the fact that there is one big league for four bars in the upper voice of the left hand, it is very desirable to emphasize the syncopation – the note e (mi) – at the end of the second bar, to make a continuation of the phrase from this syncopation, so that it is brighter than the note a (la) in the third bar (example 7).

Example 7.        Etude No. 3, bars No. 1-4 In the right-hand part, it is proposed to group the sixteenth "from the third note".

Starting from the 9th bar of the etude, it is important not to accelerate the middle of each subsequent bar (where sforzando is indicated), it is necessary to hear all transitions at wide intervals. The sixteenth in the right hand group "5 + 3" (example 8).

Example 8.        Etude No. 3, measure No. 9 The fourth etude sounds resolute, its character is march-like.

In the etude, the sforzando in the right hand is much brighter than in the left, and the overall dynamics is not at all similar to forte.

Working with students, E. K. Virsaladze pays special attention to dotted lines (example 9). In her opinion, in those places where there are dotted lines, the greatest attention should fall more on the dotted line, and not on the next strong fraction (it will still be heard), otherwise the dotted line will be blurred. That is, to execute each time from the dotted line without acceleration.It is very clear to separate the sforzando in the right and in the left hand, play them independently of each other, especially in the left hand. No less attention should be paid to the chord after sforzando, "there should be no failure in the sound."

Example 9.        Etude No. 4, bars No. 1-7 As for the whole study, it is important not to forget that there is no staccato here, respectively, there is no abruptness in the chords.

A pedal is required all the time. You should not perform the etude loudly. Eliso Konstantinovna says: "In principle, it's not forte, it's just sforzando," drawing attention to the fact that sforzando is performed within a certain dynamic, in this case there is no forte designation here.

Throughout Etude No. 5, a lot of attention is paid to the dotted line, which is performed very abruptly and very brightly. Short motifs create a sense of "scherzoznost".

The teacher recommends that in this etude, almost wherever possible, octaves should be played with the 4th ? 5th fingers (example 10).

Example 10. Etude No. 5, bars No. 1-4 In the second half of the etude f orte only in the right, in the left sforzando, "one should not get carried away with forte".

And then clearly switch to piano. When returning to the reprise, hold the chord in the right hand until the end. The last two bars (7-8, 15-16 bars) without accents and do not slow down (example 11).

Example 11. Etude No. 5, bars No. 7-8 In Etude No. 6, a "high spirits" mood is created, despite the opposition of melodic lines.

Of particular interest is the melodic cascade sounding from the top of the source.

The left hand is again in the center of attention. It contains a hidden theme that is ahead of the main theme in the right-hand party (example 12). But it is very important, it also needs to be led, and it is the left hand that sets the pace here. You should not chase the pace, especially when there are long-distance jumps in the left hand.

Example 12. Etude No. 6, bars No. 1-2 This sketch begins with two bright sforzando, which should also be independent.

And when repeating (after four bars), these sforzando should not be played as sharply as the first time on the recommendation of the teacher, in order to avoid squaring.

In the seventh etude, E. K. Virsaladze prefers a restrained pace. But the melodic movement of short motifs still gives the character of determination. It is expressed in a progressive movement.

The indication Allegro molto refers more to the nature of the movement than directly to the tempo itself, which should not be too fast, especially if performed in a large concert hall with booming acoustics (example 13). The teacher recommends "not to rush". Such a register and such a texture are involved here, with special strokes (three notes under the league and another without the league) – everything must be heard, and the lower the register, the greater clarity is required. In the etude, all the sixteenth ones should sound. To do this, you need to listen carefully to the last two sixteenths in each four (if you count from the zatact). Keep the last chord to the end.

Example 13. Etude No. 7, bars No. 1-2 It should be noted that the dynamics of forte contributes to an even greater need to control the pace.

Forte should also not be excessive. According to the professor, the "noble attitude" on the part of the performer should be preserved in the sketch.

The eighth etude sounds in sharp contrast to all the previous etudes described. This is a study of reflection?reflection. The energy of the sixty-fourth and thirty-second notes in a slow tempo gives a philosophical character to the sound.

E. K. Virsaladze prefers that the dotted line of three notes should be performed "as if non legato" every time. Otherwise, there is a very high risk that their performance turns out to be more like glissando, which is wrong. It is important to "have time to tone down" all small durations (example 14).Special attention should be paid to the middle (the second and third notes in the dotted line), it is there that accuracy and good sound are most often lacking. Moreover, the dotted movement down should be even more distinct than up.

Example 14. Etude No. 8, measure No. 1 In this study, it is important to follow the pedal.

In the last bar on the last note of cis (C?sharp), the right hand is clearly removed (example 15).

Example 15. Etude No. 8, measure No. 18 Reflections are replaced by a "sparkling sparkling scherzo".

The professor advises that before starting etude No. 9, you need to mentally listen to one bar. It is impossible to start right away (like most other etudes) without tuning in specifically to this etude, it will not be possible to perform it well. E. K. Virsaladze always requires students to teach the left hand a lot separately in this study, it is in it that the greatest number of problems with the evenness of sound and rhythm arise. And in the right hand, a certain fingering is offered (example 16).

Example 16. Etude No. 9, bars No. 1-4 In each bar, listen to the second beat (the second sixteenth).

Do not rush the 4th and 8th bars. There is always a lack of piano in Virsaladze's lessons. In the E?dur episode (33-40 bars), you already need to listen to every second and third beat (example 17).

Example 17. Etude No. 9, bars No. 33-40

The tenth etude continues the mood close to the ninth etude, but it has a more decisive dotted melody. It has more fanfare, marching. It precisely continues and complements the mood outlined in the previous sketch, it sounds fanfare?solemn.

Eliso Konstantinovna believes that again you need to pay attention to the left hand: during the game you need to listen to the first two sixteenths in each four, namely, jumps down (by a fifth, by a sexta, and so on) (example 18).

Example 18. Etude No. 10, bars No. 1-2 Etude No. 11 sounds like an elegy.

The descending melody in the part of the right hand is accompanied by a tremulously excited accompaniment in the left. After holding the theme four times with gradual development, the climax (13 bars) comes, prepared tonally. The sound is very mournful.

The teacher recommends paying attention to the pedal, taking it mainly as a half?pedal, so that there is no merging of the notes dis (d?sharp) and cisis (do-double?sharp). And the theme in the right hand should be played as "simply" as possible (example 19).

Example 19. Etude No. 11, measure No. 1 Etude No. 12 (Finale) performed by E. K. Virsaladze sounds bright, energetic, victorious, just as Schumann wanted a "majestic victorious procession".

The first holding of the topic is distinguished by its restraint. In the episodes, the greatest aspiration is already felt, the greatest difference in dynamics, the upper voice is more strongly highlighted. But every time you return to the main topic, the restraint of the pace also returns, which is preserved in the code. Thanks to this, a convincing and at the same time diverse completion of the variation cycle is obtained, Schumann's "dramatic interest" is achieved.

The teacher advises about the need to carefully listen to all the sixteenth in both hands and play "from these sixteenth" (example 20). Sforzando, related only to the game of one hand, play independently. In the first initial phrase, which takes two bars, it is important to hear a pause in both hands (and so in all similar places). And the whole first theme serves as a refrain and is held three times. According to Virsaladze, it is necessary to be able to calculate the dynamics so that each subsequent holding of the main topic is more significant and brighter than the previous one.

Example 20. Etude No. 12 (Finale), bars No. 1-4 In the middle section (52-53 bars), the theme is played in the right hand part, alternating between an expanded chord and octaves.

Octaves should not be inferior in power to chords, especially considering that they fall on weak fractions of a beat, there is a high risk of square crushing (example 21).

Example 21. Etude No. 12 (Finale), bars No. 52-53 Then, in 72-75 bars, there is a rhythmic ostinato movement in the hands, which remains unchanged in the right hand, and changes occur in the left: ascending to the accent on the top note and jumping down.

This accentuated duration in the left hand (in bars 73, 75) should be held as long as possible and the hands should be moved down at the very last moment (example 22).

Example 22. Etude No. 12 (Finale), bars No. 72-75 And in the right at this moment (on the third lobe), the rhythm of the ostinate movement should be performed especially clearly (no emphasis should be applied to the right).

This is just a small fragment of the work in the classroom. Virsaladze in an interview in 2009 says: "I consider teaching much more broadly: there is psychology, responsibility, strategy, setting certain stages for each student. It's not that simple" ^{[3, p. 179]}.

This is said by a teacher who inherited from his teachers that one should strive to become a person, since "The performer is a person. Development, constant self–improvement are the qualities of a strong personality" ^{[1, p. 63]}.

It seems that these words of E. K. Virsaladze should (can) to become a motto for students not only in Virsaladze's class.