Integrative Directions in Studying the Technique of Piano Playing and the Activities of Erwin Bach in Soviet Russia (1934–1947)
Main Article Content
Abstract
One of the tendencies of musical studies of the first third of the 20th century turned out to be the interdisciplinary
approach to the problems of performance. In the sphere of piano pedagogy it evolved on the basis of the “anatomicphysiological
school.” Its ideas, generated in the works of German musicians, received further development in
Russia. The activities of German pianist and pedagogue Erwin Bach during the period of his emigration in the Soviet
Union (1934–1947) has remained insufficiently studied. The places of his stay, besides Moscow and Leningrad (St.
Petersburg), were a number of peripheral cities. The present article is the first to present information on Erwin Bach’s
work in the peripheral cities of Sverdlovsk (Ekaterinburg) and Tomsk.
The subsequent development of the positions of the anatomical-physiological and psycho-technical approaches
at the Sverdlovsk (Urals) Conservatory was carried out by instructor V. A. Guterman, a graduate of the Moscow
Conservatory, where she studied with K. N. Igumnov. She defended her dissertation “The Tactile-Motional Method of
Instruction upon Professional Maladies of Pianists’ Hands” (Sverdlovsk, 1943). Her academic advisor was surgeon,
Professor F. P. Bogdanov, and her official opponents were H. G. Neuhaus and N. I. Golubovskaya. The professional
endorsement of her dissertation was given by physiologist, academician L. O. Orbeli.
The archival documents of the Urals Conservatory (before 1945 – the Sverdlovsk Conservatory) and the State
Archive of the Sverdlovsk Region, brought into scholarly circulation for the first time, make it possible to illuminate
these little-known historical facts and update the overall perspective of the development of integrative directions in
study of musical performance.
Keywords: the art of piano playing, piano technique, an anatomic-physiological approach to piano pedagogy,
musical pedagogy in Sverdlovsk, pianist Erwin Bach in the USSR.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Bach E. Ratsional'naya fortepiannaya tekhnika [A Rational Piano Technique]. Translated by A. S. Zamkov, Revised and with an Introduction by B. L. Wolman. Leningrad, 1934. 51 p.
3. Borodin B. B. Iz proshlogo fortepiannoy pedagogiki: anatomo-fiziologicheskaya shkola [From the Past of Piano Pedagogy: the Anatomic Physiological School]. Aktual'nye problemy muzykal'nogo i khudozhestvennogo obrazovaniya: mat. III Mezhdunar. internet-konf. May 2010 g. [Topical Problems of Musical and Artistic Education: Materials of the III International Internet Conference, May 2010]. Ekaterinburg, 2010, pp. 9–17.
4. Breytgaupt R. Estestvennaya fortepiannaya tekhnika. Uchenie o dvizhenii, posadke, etyudy Klementi «Gradus ad Parnassum» [Breitgaupt R. A Natural Piano Technique. The Teaching of Motion and Posture, Clementi’s Etudes “Gradus ad Parnassum”]. Translated and edited by M. N. Metchick. Moscow: Muztorg, 1927. 105 p.
5. Gofman I. Fortepiannaya igra. Voprosy i otvety [Piano Playing. Questions and Answers ]. Translated by E. Roshkovskaya, edited by M. Bruk. 3rd Edition. Moscow: Iskusstvo, 1938. 132 p.
6. Guterman V. A. Vozvrashchenie k tvorcheskoy zhizni. Professional'nye zabolevaniya ruk [A Return to Artistic Life. Professional Maladies of the Hands]. Compilation and Preparation of the Text by S. Frolova. Ekaterinburg: Humanitarian-Ecological Lyceum, 1994. 90 p.
7. Kimeklis G. F. Ervin Germanovich Bakh [Erwin Germanovich Bach]. Vorob'eva N. A. Pianisty Tomskogo muzykal'nogo uchilishcha [Vorobyova N. A. The Pianists at the Tomsk Music College]. Issue 1. Tomsk, 1993, pp.11–12.
8. Kogan G. M. Problemy teorii pianizma (Kriticheskiy obzor russkoy literatury) [Issues of the Theory of Piano Playing (A Critical Survey of Russian Literature)]. Kogan G. M. Voprosy pianizma [Questions of Pianism]. Moscow, 1968, pp. 7–47.
9. Livanova T. N. Iz proshlogo sovetskoy muzykal'noy nauki (GIMN v Moskve) [From the Past of Soviet Musical Scholarship (State Institute of Musical Scholarship in Moscow)]. Iz proshlogo sovetskoy muzykal'noy kul'tury [From the Past of the Soviet Musical Culture].Compiled and edited by T. Livanova. Moscow, 1975, pp. 267–335.
10. Marsova V. S. K glave ob anatomii i psikhofiziologii fortepiannoy tekhniki [A Chapter about the Anatomy and Physiology of the Piano Technique]. Breytgaupt R. Estestvennaya fortepiannaya tekhnika. Uchenie o dvizhenii, posadke, etyudy Klementi «Gradus ad Parnassum» [Breitgaupt R. A Natural Piano Technique. Teaching of Motion and Posture, Clementi’s Etudes “Gradus ad Parnassum”]. Translated and edited by M. N. Meychick. Moscow, 1927, pp. 10–22.
11. Neygauz G. G. Razmyshleniya, vospominaniya, dnevniki. Izbrannye stat'i. Pis'ma k roditelyam [Reflections, Memoirs, Diaries. Selected Articles. Letter to Parents]. Edited by S. G. Neuhaus, D. V. Zhytomyrskiy, Ya. I. Milstein; Compilation, Introduction and Commentaries by Ya I. Milstein. Moscow: Sovetsky kompozitor, 1975. 528 p.
12. Nikolayev A. A. Ocherki po istorii fortepiannoy pedagogiki i teorii pianizma: ucheb. posobie [Essays on the History of Piano Pedagogy and Theory of Piano Playing: a Textbook]. Moscow: Muzyka, 1980. 112 p.
13. Perederiy O. I. Rasprostranenie printsipov anatomo-fiziologicheskogo napravleniya v otechestvennoy fortepiannoy pedagogike pervoy treti XX veka [The Dissemination of the Principles of the Anatomical- Physiological Trend in Russian Piano Pedagogy in the First Third of the 20th Century]. Izvestiya RGPU im. A. I. Gersena. Seriya «Obshhestvennye i gumanitarnye nauki» [Proceedings of the Russian State A. I. Herzen. Pedagogical University. The Series of “Social and Humanitarian Disciplines”]. St. Petersburg, 2008. No. 11 (78), pp. 191–199.
14. Perederiy O. I. Stanovlenie printsipov nachal'nogo obucheniya igre na fortepiano v otechestvennoy metodike sovetskogo perioda [The Formation of the Principles of Elementary Education in Piano Playing in the National Methodology of the Soviet Period]. Izvestiya RGPU im. A. I. Gercena. Seriya «Obshhestvennye i gumanitarnye nauki» [Proceedings of the Russian State A.I. Herzen. Pedagogical University. The Series of “Social and Humanitarian Disciplines”]. St. Petersburg, 2008. No. 11 (75), pp. 247–257.
15. Shabalina L. K. A. P. Rakhmanov (personaliya) [A. P. Rakhmanov (Personalia)]. Vinkevich I. V., Ivanchuk N. N., Polotskaya E. E., Shabalina L. K. Pervoe muzykal'noe uchilishhe Urala [Vinkevich I. V., Ivanchuk N. N., Polotskaya E. E., Shabalina L. K. The First Music College of the Ural Region]. Edited by L. K. Shabalina. Ekaterinburg, 2012, p. 264.
16. Steinhausen F. A. Tekhnika igry na fortepiano [The Technique of Playing the Piano]. Preface, Supplementation and Revision by G. P. Prokofiev; Translated from the 2nd German Edition. Moscow: Muzsektor, 1926. 91 p.
17. Shul'pyakov O. F. Tekhnicheskoe razvitie muzykanta-ispolnitelya. Problemy metodologii [The Technical Development of the Musician-Performer. Issues of Methodology]. Leningrad: Muzyka,1973. 104 p.
18. Shchapov A. P. O “Ratsional'noy fortepiannoy tekhnike” Ervina Bakha [Concerning Erwin Bach’s “Rational Piano Technique”]. Sovetskaya muzyka [Soviet Music], 1936, No. 9, pp. 71–78.
19. Erwin Johannes Bach.
URL: https://de.wikipedia.org/wiki/Erwin_Johannes_Bach (28.08.2015).