Pedagogical system of piano technique evolution in the works of M. Moszkowski
Authors: Mits Oksana 
Published: June 2019

Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Technical sketches” op. 97. The arsenal of techniques used in these works is rich and diverse, which emphasizes the artistic advantages of these compositions. The value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist is defined, since the pedagogical works of the composer can still serve as a good help for middle and high school students of music schools and colleges. The purpose of the article is to reveal the value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The study of M. M. Moszkowski’s piano etudes became a significant contribution to the development of West-European art of the second half of the 19th and early 20th centuries. The analysis of etudes allowed highlighting a free choice of figurative and stylistic priorities, tendency towards small size, focus on a certain type of technique, expressiveness of technically virtuoso tasks, use of simple forms, artistic diversity, prevelance of light mood and moving pace. These piano exercises are clearly presented as an integral part of Moszkowski’s pedagogical method, as well as the specifics of the author’s performance style. Moszkowski’s etudes are a kind of bridge between virtuosity skills and bright images, they help not only improve the technique but also develop student’s musicality. Undoubtedly, this approach provides a solid foundation in all areas of piano performance. Moszkowski’s etudes are less difficult to study, they have technical value that can be quickly acquired, but at the same time they are sustainable and program. Sometimes Moszkowski treats the etude genre very freely: as a substitute for another genre (Two miniatures op 67) as part of the dilogy cycle (Caprice-etude and Improvisation op. 70) and others. These works are little used in modern performing practice. At the same time, they represent a very interesting material that clearly reflects the distinctiveness of musical language of late romantic pianists, to which Moszkowski belonged. Conclusions. Special attention should be paid to the composter’s great contribution to the enrichment of the instructive piano repertoire. Unfortunately, pedagogically orientated works are not so often performed in today’s educational practice. Only 15 virtuoso etudes from op. 72. are widely used. It would be very useful for young musicians to get acquainted with numerous etudes of the composer, since they are of unquestionable interest from the viewpoint of the development of both technical skills and figurative thinking of students. This publication is intended to attract the attention of teachers and performers to wider mastering of piano etudes by M. Moszkowski, which would greatly enrich modern piano repertoire. Unfortunately, many piano compositions of the composer, which were created with a pedagogical purpose, are not used widely enough in educational practice today. Many of them are aimed at the development of elementary piano skills necessary for the development of a young performer: five-finger position, scale sequences, and chords. They are very important, that is why they are described in easy etudes, systematizing the basic forms of virtuosity. Such compositions of Moszkowski take the performer from the basics to the tasks of the highest virtuoso difficulty. His pedagogical system allows us to gradually and systematically improve pianism. The piece must be learnt in a certain sequence: mastering the musical text; playing in the tempo specified by the composer; analysis of the content of the work. Indeed, the performer should be able to divide the work into certain stages, especially if it concerns etudes – to strive for the maximum clear statement of the technical task, excluding anything that could hinder its accomplishment.