An extraordinary personality is a person with outstanding abilities. The meaning of the word "extraordinary". Periods of life's path Time period their extraordinary interpretation

Ant. mediocre,... ... Dictionary of synonyms

extraordinary - extraordinary appetite extraordinary mind ... Dictionary of Russian Idioms

OUTSTANDING - OUTSTANDING, oh, oh; den, bottom. Unusual, standing out among others. Extraordinary abilities. | noun originality, and, wives. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. ... Ozhegov's Explanatory Dictionary

Extraordinary - adj. Stands out among others; outstanding. Ephraim's explanatory dictionary. T. F. Efremova. 2000 ... Modern explanatory dictionary of the Russian language by Efremova

extraordinary - extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary, extraordinary,... ... Forms of words

extraordinary - uncommonly poisonous; briefly form den, bottom (outstanding) ... Russian spelling dictionary

extraordinary - cr.f. nezaurya/den, nezaurya/dna, bottom, bottoms; nezaurya / day ... Spelling dictionary of the Russian language

extraordinary - extraordinary (outstanding) ... Together. Apart. Hyphenated.

extraordinary - Syn: exceptional (amplification), extraordinary, outstanding, rare, rarest (amplification), rare, remarkable, phenomenal (book, amplification), unique (amplification) Ant: mediocre, ordinary, ordinary, banal ... Thesaurus of Russian business vocabulary

extraordinary - oh, oh; den, dna, bottom. Stands out among others; outstanding. Nth personality. N. musician. New abilities. N. talent, mind. ◁ Originality, and; and. N. personality. N. abilities, intelligence, talent ... Encyclopedic Dictionary

Books

• Falstaff, or the Extraordinary, Cesare Vergati. Bimba Selvaggia Landmann, born in Milan in 1968, graduated from the Brera Academy of Fine Arts. Since 1988 he has been engaged in book graphics; books with her illustrations have been translated into more than twenty... Read more Buy for 599 UAH (Ukraine only)
• Jan Brueghel the Elder, . An extraordinary master created multi-figure paintings on religious and mythological themes, painted landscapes, allegories, everyday compositions, and was also the author of numerous, magnificent... Read more Buy for 419 rubles
• Jan Brueghel the Elder, . An extraordinary master created multi-figure paintings on religious and mythological themes, painted landscapes, allegories, everyday compositions, and was also the author of numerous, magnificent... Read more Buy for 402 rubles

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Extraordinary man Wikipedia

Synonyms for "outstanding"

Morphology:

EXTRAORDINARY, -aya, -oe; -den, -dna, -bottom. Stands out among others; outstanding. Extraordinary abilities. □ My childhood passed among people who were extraordinary, cultured and, in terms of their characters, very strong. Yuryev, Notes. Boris decided to surprise the master in order to show from the very beginning what an extraordinary mechanic he would have to deal with. V. Kozhevnikov, Boy from the Outskirts.

Source (printed version): Dictionary of the Russian language: In 4 volumes / RAS, Institute of Linguistics. research; Ed. A. P. Evgenieva. - 4th ed., erased. - M.: Rus. language; Polygraph resources, 1999; (electronic version): Fundamental electronic library

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• infrastructure: bridge, gas pipeline, overpass, viaduct, lighthouse;
• military structure: dugout, bunker, tunnel, bastion.

Synonyms for the word “outstanding”:

Sentences containing "outstanding":

• He truly turned out to be an extraordinary person.
• His Majesty made excellent use of the first opportunity that presented itself, which speaks of his extraordinary abilities.
• She is an interesting conversationalist and has an extraordinary mind.
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What (who) is “extraordinary”:

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Reference information on the declension of nouns and adjectives, verb conjugation, as well as the morphemic structure of words.

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Extraordinary

How many girls are there in the world to whom their extraordinary beauty did not give

nothing but the hope of extraordinary wealth.

Every mediocrity considers itself extraordinary!

If a woman bets only on her extraordinary beauty,

then extraordinary but unrealistic hopes often reach the finish line.

Originality as a personality quality is the ability to demonstrate outstanding abilities, to stand out among others, to be first among equals.

He was an extraordinary person, even out of the ordinary.

Having lived in the outback for many years, my husband considers himself a real country guy. However, his wife likes to make fun of his city habits. Recently, right in front of guests, she said: “You never knew what a cow looked like until you met me!”

Originality is the ability to break out of the general order, to go where no one has been before, and not be afraid to be different. Extraordinaryness is the possession of outstanding abilities coupled with demonstrated charisma and extraordinary inner attractiveness. What you cannot attribute to originality even if you are biased and tendentious is herd feeling and conformism. An extraordinary person has his own point of view on everything and does not pay attention to the fact that his opinion goes against the opinion of the majority. People usually don’t like extraordinary people precisely because they are not like everyone else, because they do not act like everyone else, have their own opinions and are not afraid to express them.

The Strugatsky brothers in the book “Burdened with Evil” write: “An extraordinary person wants to leave behind a world different from the one into which he appeared - better, enriched by his own creativity. To do this, he is ready to sacrifice most of the joys, or even all the joys that an ordinary person enjoys!”

To an extraordinary person much is given, and to whom much is given, much will be required. Therefore, fate teaches difficult lessons to extraordinary individuals. By accepting these challenges, an extraordinary person becomes even more tempered, improves, and grows personally. An extraordinary person is capable of conquering many peaks, but if, having achieved success, he cultivated pride, greed, and selfishness, then it would have been better for him not to have been born.

Extraordinary usually communicates with singularity, exclusivity, brilliance and singularity. People are especially surprised by the phenomenon of an extraordinary mind. When the great warrior Arjuna asked the Almighty: - By what signs can you recognize a person who is in a state of perfect peace and freedom? What words does he pronounce, What is he like surrounded by people and alone with himself. How he behaves in everyday life, the Almighty replied: “Oh, great warrior, a person who is in a state of perfect peace is not attracted by the temptations of the world around him.” He understands that, as a particle of consciousness, he is alien to the world of external things, and therefore seeks happiness within himself. Such a person has an extraordinary mind. He who is not disturbed by the three types of external influences, who is detached from worldly pleasures, who is not attached to the images of the external world, and who does not experience fear and anger, has accepted the correct point of view and uses the mind for its intended purpose.

“Tibetan Yoga” lists ten signs of an extraordinary person:

1) Having almost no arrogance or envy is a sign of an extraordinary person.

2) Having almost no passions and being satisfied with simple things is a sign of an extraordinary person.

3) The absence of hypocrisy and cunning is a sign of an extraordinary person.

4) Ordering your behavior according to the law of cause and effect (the law of Karma) as carefully as people take care of their eyes is a sign of an extraordinary person.

5) Being faithful to your obligations and deeds is a sign of an extraordinary person.

6) To be able to maintain empathetic friendships while treating all beings impartially and fairly is the mark of an extraordinary person.

7) Looking with compassion and without anger at those who live badly is a sign of an extraordinary person.

8) Recognizing victory for others while accepting defeat is a sign of an extraordinary person.

9) To be different from the crowd in every thought and deed is a sign of an extraordinary person.

10) To observe faithfully and without arrogance your vows of abstinence and piety is the sign of an extraordinary person.

Distinctiveness is ignoring the wind of general opinion. She is disdainful of grades and labels placed on her. Vanity values ​​and petty issues are alien to her. She doesn't care about the everyday merry-go-round of hypocrisy.

Rozanov recalls: “Pobedonostsev responded to the words: “This will cause bad rumors in society,” he stopped and did not spit, but somehow released his saliva on the floor, rubbed it and, without saying anything, moved on.”

Another feature of originality. Antoine de Rivarol writes: “Extraordinary minds pay deep attention to everything familiar and ordinary, while mediocre minds show interest and passion only for what is out of the ordinary.”

The originality is noticeable. Visibility is the best way to attract attention. Seth Godin, in his classic marketing book, Purple Cow, uses a great metaphor to illustrate this principle: When there are only brown cows grazing in a field, it's boring. The purple cow does not meet people's expectations, and this naturally attracts attention and interest.

A person can stand out and become noticeable among other people in different ways. An extraordinary person stands out due to his clearly demonstrated personality qualities, extraordinary mental abilities and desires corresponding to these abilities. It is characteristic that a truly extraordinary person is modest, that is, he has no greedy desire for honors, no need for recognition and exclusivity, no desire to please his pride and vanity. Such people change the worldview of other people and offer a new look at this or that phenomenon of life.

It’s hard to feel sympathy for an extraordinary person who doesn’t hide. Actress Faina Ranevskaya was a striking manifestation of an extraordinary personality. Her biographer, Darina Lunina, says that Ranevskaya had something that did not need polishing - an innate ability for creative improvisation. This fortunate talent was partly due to his deep education and sense of humor. Many brilliant roles were literally sucked out of Ranevskaya’s fingertips. Sometimes the directors themselves asked her to “delineate” the image more clearly. And she outlined. Once, for example, at the “instigation” of Pyasetsky, who was staging a play in Stalingrad, she invented an unforgettable heroine from scratch - a woman who came to her benefactress in the hope that she would feed her, and while the hostess was away, she stole an alarm clock. As soon as the “nurse” returned with the pie, the alarm clock, hidden by the thief under her coat, rang, and in order to drown it out, she had to funny raise her voice. The matter ended in tears and the return of the recalcitrant thing. Then Faina Georgievna proudly said that not a single spectator, despite the farcical nature of the scene, laughed.

What can we say about the admiring spectators! The phrase “Mulya, don’t make me nervous!” Only the lazy didn't quote. The film “Foundling” became Ranevskaya’s nightmare: “multiple”, crowds of fans followed her, including “pioneers”. There was no end to them. Alexey Tolstoy, who was friends with Faina Georgievna, called her talent “tart.” "Why is this?" - the actress became interested. “And because it is absorbed like the smell of turpentine...” Indeed, it is difficult to get rid of the charm of her bitter, “turpentine” gift.

Unfortunately, Ranevskaya never managed to get a role equivalent to her divine originality. In 1992, the editorial board of the English encyclopedia “Who's Who” included F. G. Ranevskaya among the ten most outstanding actresses of the 20th century. To understand Ranevskaya’s originality, it is enough to read some of her statements:

If a person has done EVIL to you, you give him candy, he is EVIL to you - you give him candy... And so on until this creature develops diabetes mellitus.

Loneliness is when there is a telephone in the house and the alarm clock rings.

Darling, if you want to lose weight, eat naked and in front of a mirror.

I lived with many theaters, but never enjoyed it.

Women are smarter than men. Have you ever heard of a woman who would lose her head just because a man has beautiful legs?

Ranevskaya was asked: “Which women, in your opinion, are prone to greater fidelity: brunettes or blondes?” Without hesitation, she answered: “Grey hair!”

Ranevskaya stood in her makeup room completely naked. And she smoked. Suddenly, the managing director of the Mossovet Theater, Valentin Shkolnikov, entered her without knocking. And he froze in shock. Faina Georgievna calmly asked: “I hope I didn’t shock you by smoking Belomor?”

There are people in whom God lives; There are people in whom the devil lives; And there are people that live only worms.

To the question: “Are you sick, Faina Georgievna?” - she usually answered: “No, I just look like that.”

Why do women devote so much time and money to their appearance, and not to the development of their intellect? - Because there are much fewer blind men than smart ones.

Copyright © 2018 Personality qualities from A to Z. Copying information is permitted only with the permission of the author and a link to the source

The meaning of the word "extraordinary"

“Explanatory Dictionary of the Russian Language (Alabugin)”, “Thesaurus of Russian Business Vocabulary”, “Ozhegov’s Dictionary”.

What does the word "outstanding" mean?

* Explanatory dictionary of the Russian language (Alabugina)

Interpretation

This is extraordinary:

Standing out among others, unusual, outstanding, rare.

* Extraordinary musical abilities. *

* Thesaurus of Russian business vocabulary

Interpretation

This is extraordinary:

Syn: exceptional (amp.), extraordinary, outstanding, rare, rare (amp.), rare, remarkable, phenomenal (book, amp.), unique (amp.)

Ant: ordinary, ordinary, ordinary, banal

* Ozhegov's Dictionary

Interpretation

This is extraordinary:

EXTRAORDINARY, oh, oh; den, bottom. Unusual, standing out among others. Extraordinary abilities.

* Dictionary by Efremova

Interpretation

This is extraordinary:

Outstanding, standing out among others.

You might be interested in the following values:

Russian dictionaries

Lexical meaning: definition

The general stock of vocabulary (from the Greek Lexikos) is a complex of all the basic semantic units of one language. The lexical meaning of a word reveals the generally accepted idea of ​​an object, property, action, feeling, abstract phenomenon, impact, event, and the like. In other words, it determines what a given concept means in the mass consciousness. As soon as an unknown phenomenon gains clarity, specific signs, or awareness of the object arises, people assign it a name (sound-letter shell), or rather, a lexical meaning. After that, it enters the dictionary of definitions with an interpretation of the content.

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There are so many buzzwords and highly specialized terms in each language that it is simply unrealistic to know all their interpretations. In the modern world there are a lot of thematic reference books, encyclopedias, thesauruses, and glossaries. Let's go over their varieties:

• Explanatory You can find the meaning of a word in the explanatory dictionary of the Russian language. Each explanatory “article” of the interpreter interprets the required concept in the native language and examines its use in the content. (PS: You will read even more cases of word usage, but without explanation, in the National Corpus of the Russian Language. This is the most voluminous database of written and oral texts of native speech.) Authored by V.I. Dahl, S.I. Ozhegov, D.N. Ushakov . The most famous thesauruses with interpretation of semantics in our country have been released. Their only drawback is that the publications are old, so the vocabulary is not updated.
• Encyclopedic Unlike explanatory ones, academic and encyclopedic online dictionaries provide a more complete, detailed explanation of the meaning. Large encyclopedic publications contain information about historical events, personalities, cultural aspects, and artifacts. Encyclopedia articles tell about the realities of the past and broaden one’s horizons. They can be universal or thematic, designed for a specific audience of users. For example, “Lexicon of Financial Terms”, “Encyclopedia of Home Economics”, “Philosophy. Encyclopedic glossary", "Encyclopedia of fashion and clothing", multilingual universal online encyclopedia "Wikipedia".
• Industry-specific These glossaries are intended for specialists in a specific profile. Their goal is to explain professional terms, the explanatory meaning of specific concepts in a narrow sphere, branches of science, business, and industry. They are published in the format of a dictionary, terminology reference book or scientific reference guide (“Thesaurus on advertising, marketing and PR”, “Legal reference book”, “Terminology of the Ministry of Emergency Situations”).
• Etymological and borrowings The Etymological Dictionary is a linguistic encyclopedia. In it you will read versions of the origin of lexical meanings, from what the word was formed (original, borrowed), its morphemic composition, semasiology, time of appearance, historical changes, analysis. The lexicographer will determine where the vocabulary was borrowed from, consider subsequent semantic enrichments in the group of related word forms, as well as the scope of functioning. Will give options for use in conversation. As an example, an etymological and lexical analysis of the concept of “surname”: borrowed from Latin (familia), where it meant family nest, family, household members. Since the 18th century it has been used as a second personal name (inherited). Included in the active vocabulary. The etymological dictionary also explains the origin of the subtext of catchphrases and phraseological units. Let's comment on the stable expression “genuine truth”. It is interpreted as the real truth, the absolute truth. Believe it or not, etymological analysis revealed that this idiom originates from a method of medieval torture. The defendant was beaten with a whip with a knot tied at the end, which was called a “line.” Under the line, the man revealed everything frankly, the real truth.
• Glossaries of obsolete vocabulary How do archaisms differ from historicisms? Some items consistently fall out of use. And then lexical definitions of units fall out of use. Words that describe phenomena and objects that have disappeared from life are classified as historicisms. Examples of historicisms: camisole, musket, king, khan, baklushi, political instructor, clerk, purse, kokoshnik, Chaldean, volost and others. You can find out what the meaning of words that are no longer used in oral speech is from collections of outdated phrases. Archaisms are words that have retained the essence by changing the terminology: piit - poet, brow - forehead, tselkovy - ruble, overseas - foreign, fortecia - fortress, zemsky - national, tsvibak - sponge cake, cookies. In other words, they were replaced by synonyms that are more relevant in modern reality. This category includes Old Church Slavonicisms - vocabulary from Old Church Slavonic, close to Russian: grad (Starosl.) - city (Russian), child - child, gate - gate, fingers - fingers, mouth - lips, dragging - dragging your feet. Archaisms are found in the circulation of writers, poets, and in pseudo-historical and fantasy films.
• Translation, foreign Bilingual dictionaries for translating texts and words from one language to another. English-Russian, Spanish, German, French and others.
• Phraseological collection Phraseological units are lexically stable phrases, with an indivisible structure and a certain subtext. These include sayings, proverbs, idioms, catchphrases, and aphorisms. Some phrases migrated from legends and myths. They give the literary style artistic expressiveness. Phraseological phrases are usually used in a figurative sense. Replacing any component, rearranging or breaking a phrase leads to a speech error, unrecognized subtext of a phrase, and distortion of the essence when translated into other languages. Find the figurative meaning of such expressions in a phraseological dictionary. Examples of phraseological units: “In seventh heaven”, “A mosquito won’t spoil your nose”, “Blue blood”, “Devil’s Advocate”, “Burn bridges”, “An open secret”, “As if I was looking into water”, “To throw dust in my eyes”, “Work carelessly”, “Sword of Damocles”, “Gifts of the Danaans”, “Double-edged sword”, “Apple of discord”, “Warm up your hands”, “Sisyphean labor”, “Climb the wall”, “Keep your eyes open”, “Throwing pearls before swine”, “With a gulkin’s nose”, “Shot sparrow”, “Augean stables”, “Caliph for an hour”, “Puzzling”, “Doting your soul”, “Flapping your ears”, “Achilles’ heel”, “Eate the dog”, “Like water off a duck’s back”, “Grab at a straw”, “Build castles in the air”, “Be on trend”, “Live like cheese in butter”.
• Definition of neologisms Language changes are stimulated by dynamic life. Humanity strives for development, simplification of life, innovation, and this contributes to the emergence of new things and technology. Neologisms are lexical expressions of unfamiliar objects, new realities in people's lives, emerging concepts and phenomena. For example, what does “barista” mean - this is the profession of a coffee maker; A coffee professional who understands the varieties of coffee beans knows how to beautifully decorate steaming cups of drink before serving to the client. Every little word was once a neologism until it became commonly used and entered the active vocabulary of the general literary language. Many of them disappear without even being actively used. Neologisms can be word-forming, that is, completely newly formed (including from Anglicisms), and semantic. Semantic neologisms include already known lexical concepts endowed with fresh content, for example, “pirate” is not only a sea corsair, but also a copyright infringer, a user of torrent resources. Here are just some cases of word-forming neologisms: life hack, meme, google, flash mob, casting director, pre-production, copywriting, friending, PR, moneymaker, screenshot, freelancing, headliner, blogger, downshifting, fake, brandalism. Another option is that a “copymaster” is the owner of the content or an ardent supporter of intellectual rights.
• Other 177+ In addition to those listed, there are thesauri: linguistic, in various areas of linguistics; dialectal; linguistic and cultural studies; grammatical; linguistic terms; eponyms; abbreviations; tourist vocabulary; slang. Schoolchildren will find useful lexical dictionaries with synonyms, antonyms, homonyms, paronyms and educational dictionaries: spelling, punctuation, word-formation, morphemic. Orthoepic reference book for setting stress and correct literary pronunciation (phonetics). Toponymic dictionaries-directories contain geographical information by region and names. In anthroponymics - data about proper names, surnames, nicknames.

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Globalization is taking its toll. This affects writing. Mixed spelling in Cyrillic and Latin, without transliteration, has become fashionable: SPA salon, fashion industry, GPS navigator, Hi-Fi or High End acoustics, Hi-Tech electronics. To correctly interpret the content of hybrid words, switch between language keyboard layouts. Let your speech break stereotypes. The lyrics excite the senses, pour elixir into the soul and have no expiration date. Good luck with your creative experiments!

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word

extraordinary spelling of the word extraordinary spelling stress in the word extraordinary spelling of the word extraordinary

extraordinary; cr. f. -den, -dna (outstanding)

extraordinary interpretation of the word extraordinary what does it mean

Extraordinary, -aya, -oe; -den, -dna. Unusual, standing out among others. Extraordinary abilities.

noun originality, -i, f.

antonyms of the word extraordinary

An ordinary nature is an extraordinary nature. Ordinary abilities are extraordinary abilities. Ordinary appearance - extraordinary appearance. ○ If a person knows how to be a keeper of secrets, real ones, especially imaginary ones. he already deserves to be both a boss, and the head of a family, and an extraordinary personality among ordinary personalities. Zalygin. Ecological novel.

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SHATSKY

Pavel Andreevich

Object of study – Beethoven’s piano variation cycles, their stylistic features; performance readings of these cycles, conceptual specificity of interpretations of outstanding pianists.

Identification and comparison of musicological and performing interpretations of these works is subject of research .

Goal of the work – to explore the basic patterns of the genre of Beethoven’s piano variations and the interpretation of these works by outstanding musicians-performers.

Based on the named goals , it is expected to solve the following tasks :

– analyze the main compositional features (stages of genre evolution, specifics of dramatic structures, etc.) of Beethoven’s piano variations;

– consider and conduct a comparative analysis of the main research interpretations of the named works available in domestic and foreign musicological literature;

– analyze outstanding performance readings of Beethoven’s most significant piano variation cycles;

– to clarify, based on the analysis of performance interpretations, the important dramatic features of Beethoven’s large-scale piano variation cycles;

– to identify the degree of creative participation of performers in revealing the content of the work (from vivid manifestations of co-authorship to the prevailing formal approach);

– determine the various ways the performer builds the dramaturgy of the composition and combines each cycle into a single whole.

This focus of the dissertation requires a consistent consideration of both the works themselves and their interpretations. Domestic music science has accumulated extensive experience in the comprehensive study of artistic phenomena. Thus, in the works of and, who summarized the scientific achievements of their predecessors and colleagues (, etc.), a method of holistic analysis of musical works was developed. Justifying this method, the researchers come to a conclusion that is of fundamental importance for this work: “... Since a musical work lives in real performance, information about the traditions of its performance, about various performing interpretations, is essential for understanding the work. analysis of these interpretations is important(italics mine. – P. Sh.)».

This work, first of all, examines the stylistic features of any cycle, as well as the history of its origin, and compares various musicological interpretations of the form and content of the work. Next, the specificity of the performing readings of the same cycle is revealed. The proportions between different angles of study may vary depending on the specific situation (the degree of study of a particular variation cycle, the degree of diversity of performing interpretations of the same work, etc.). Nevertheless, the analysis of performances is a priority in this study, and the analysis of works and musicological interpretations, more or less detailed, is intended to create a certain basis and expand the field for a more complete consideration of the performance interpretations themselves. As the results show, the synthesis of both areas of study helps specify, and in some cases re-evaluate the significance of individual patterns of Beethoven's composer's creativity.

Thus, research methodology is based, first of all, on a set of methods for holistic analysis of musical works and comparative analysis of interpretations. Other methods are also used: musical-textological, systemic, comparative-historical (which in recent years has received a more comprehensive interpretation and the name “comparative studies”).

The method of comparative analysis of interpretations was used (from different angles and on the material of various works) in the works of Rybnikov, Tinya, etc. Its elements are discretely present in many studies devoted to the work of performing musicians, but in this work for the first time it is given a fundamental role.

The analysis of performing concepts is also based on the scientific developments of representatives of the domestic science of musical performance. They touch on a variety of issues, for example, the pianist’s creative work with the author’s text (,), problems associated with the classification of performing types and styles (K.-A. Martinsen, E. Fischer), etc.

Research material are:

1) Beethoven's Piano Variations (20 opuses in total). As the most clearly revealing stylistic features of the composer’s work, the following cycles are analyzed in detail: Six variations in F major op.34; Fifteen variations with fugue Es-dur op.35; 24 Variations on a Theme of Righini D-dur WoO 65; 32 Variations c-moll WoO 80; 33 Variations on a Theme of Diabelli's Waltz in C major op. 120. In addition, it is these works that are currently represented by the largest number of highly artistic performance interpretations. Other variation cycles are considered episodically, as are those works in which variations, as a simple form, are part of a complex one.

2) Sheet music editions of Beethoven's piano variations, including:

– urtextual, critical editions (unspecified references to the musical text are given according to the edition: Beethoven L. van. Variationen für Klavier. 2 Bd. Herausgegeben von J. Schmidt-Görg. München: G. Henle Verlag, 1973);

– performing editions of Beethoven’s piano variations;

– lifetime editions of Beethoven’s variations, electronic copies of which are available on the official website of Beethoven’s house in Bonn: www. beethoven-haus-bonn. de.

3) Transcripts of sketches of Beethoven’s variation cycles.

4) Epistolary heritage of the composer.

5) Materials from periodicals related to the appearance in print and performance of Beethoven’s piano variations.

6) Musicological and music-critical works devoted to:

– the works of Beethoven;

– questions of variation form;

– issues of performing arts.

7) Numerous recordings of Beethoven's piano variations.

8) Monographic literature and works written in the genre of “performing portrait”, which explore the work of outstanding pianists - interpreters of Beethoven's variations.

9) Literary (articles, letters, diary entries) and musical and pedagogical (editions, comments) heritage of outstanding performers.

Audio and video recordings of Beethoven's variations, made by outstanding musicians, constitute a significant source research base. The author studied 164 recordings that recorded the performances of such outstanding pianists as (in alphabetical order) G. Anda, C. Arrau, V. Backhaus, D. Barenboim, A. Brendel, V. Horowitz, G. Gould, F. Gulda , W. Kempf, R. Lupu, E. Ney, J. Ogdon, R. Serkin, A. Fischer, D. Ciffra, D. Ciani, A. Schnabel, .

Turning to recordings of Beethoven's variation cycles imposes certain restrictions on the period of time covered in this work. Chronologically, the lower limit is indicated by the entry (1925), the upper one corresponds to our time.

The source study base for the study of interpretations of Beethoven’s piano variation cycles has in its work an additional group of materials that expand the time s e boundaries of the period covered. We are talking about performance editions of these works, performed by outstanding musicians of the 19th–20th centuries, of which the interpretive editions of G. von Bülow and A. Schnabel should be especially noted. In addition to considering the compositional structure of the cycles and the editor-performer’s recommendations regarding the performance of a particular fragment, these editions also reflect more general stylistic phenomena in piano performance as a whole.

Scientific novelty research is to systematically cover all components of the stated topic. The presented dissertation is the first special, comprehensive study in which the main genre features of Beethoven's piano variations are studied and summarized in such detail and their outstanding interpretations are examined in detail (using beat-by-beat performance analysis).

In the direction of musicological analysis, a number of important clarifications have been made, mainly generalizing the experience of comparative characteristics of interpretations. The genre features of each variation from the cycle Six Variations op.34 are clarified. The idea of ​​the role of polyphony in the cycles of the “new manner” is expanded. The first attempt of its kind to consider the compositional structure of 24 Variations on the theme of Righini WoO 65 is presented. A table of motive-intonation connections discovered by the researcher in the cycle 32 Variations on his own theme WoO 80 is given.

In addition, for the first time, translations of research materials by W. von Lenz, J. Uhde, A. Brendel and W. Kinderman concerning the characterization and analysis of 33 Variations on a Theme by A. Diabelli op.120 are being introduced into scientific circulation in Russian.

The following provisions are submitted for defense:

– the compositional features of Beethoven’s piano variations create the prerequisites for the multiplicity of their performing interpretations;

– the genre evolution of Beethoven’s piano variations directly determines the change in priority tasks associated with their performance. A particularly striking example is the variations op.34 and op.35, the creation of which Beethoven associated with the manifestation of a “new manner” of composition;

– outstanding performing readings of Beethoven’s piano variations make it possible to clarify many features of the dramaturgy of these works;

– some performers (namely S. Richter, G. Gould, M. Pletnev and A. Brendel), presented in this work with several interpretations, reveal features of an individual approach to the performance of Beethoven’s variations, characteristic only for each of them.

Approbation of the study

The work was carried out and discussed at meetings of the Department of History and Theory of Performing Arts of the Moscow State Conservatory. .

Theoretical and practical significance of the research

The dissertation materials can be used in the work of pianists and teachers in a special piano class, in lecture courses on the history of foreign music, the history of piano art, and methods of teaching piano. The methodology for analyzing the features of piano performance on the source base of audio and video recordings can be applied when studying problems of performance on other instruments.

Dissertation structure

The dissertation consists of an Introduction, four chapters, a Conclusion, a List of used literature, a List of used audio and video recordings of interpretations and an Appendix containing an analysis of motive-intonation connections in Beethoven’s 32 Variations in c-moll WoO 80.

II. Main content of the work

ChapterI. First experiments.Features of early piano variations and the emergence of a “new manner”.

Six variations of F-dur op.34 and problems of their interpretation.

At the beginning of this chapter, the initial stage of development of the genre of piano variations in Beethoven before the creation of op.34 is briefly covered. Using the example of early works (Thirteen Variations on a Theme by K. Dittersdorf WoO 66, Nine Variations on a Theme by G. Paisiello A-dur WoO 69, Ten Variations on a Theme by A. Salieri B-dur WoO 73, etc.), the emergence of compositional features that anticipate a new interpretation of the variation cycle. This is reflected in the individualization of the genre basis and thematic material of each variation, in the use of polyphonic development techniques and in the increase in dramatic load in the finales of the cycles.

An important pattern in Beethoven’s understanding of the variation form in that period is noted when he says that “ornament begins to transform from a means of decoration into a means of thematic development.” He also draws attention to the fact that Beethoven began to create an independent cycle on his own theme only after carrying out enormous preparatory work on composing variations on themes of other authors. From this it follows that the composer’s interest, like none of his predecessors, was aroused not only by the variation genre itself, but by variation as a principle of artistic thinking. It is in Beethoven’s work that it is first clearly seen that “variation is an all-pervasive phenomenon.<…>It embraces everything that is associated with altered repetition, from variation to complex types of derivativeness” and therefore can be used in works of any genre and length, which is observed, for example, in the composer’s later opuses. An important stage on this path was the cycles of variations op.34, op.35. That is why it is no coincidence that, having finished them, Beethoven informs the publishing house Breitkopf & Hä rtel in a letter on October 18, 1802: “I have written two works in the form of variations ... Usually one hears from others that I have new ideas, while I myself do not know it, but this time I can assure you that in both works I used a completely new style.” When the variations came out of print the following year, 1803, the composer prefaced them with a preface, which also stated that they were distinguished by a completely new style. The fact that these variation cycles occupied a special position with him is evidenced by the fact that they received opus numbers 34 and 35, while all those created earlier remained with the author without the designation of opus numbers.

The “new manner” and Beethoven’s new compositional style are multifaceted phenomena. In the cycles op.34 and op.35 they reveal themselves differently, therefore in the dissertation both works are considered separately.

The most important feature of the compositional structure of op.34, which allows us to talk about a “new manner” and is the first such example in the history of variations, a milestone for their historical development as a whole, is that a new type of free variations is presented here. What we see is no longer the colorization of one image embedded in the theme, but the disclosure and combination of several images throughout the cycle, which is embodied in the emphasized change of genre inclination of each variation.

From now on, the variation cycle poses slightly different tasks for the performers than before: the presence of brightly written, diverse images poses the danger of reading it as a suite. The pianist must not only show their contrast, but also reveal their unity in the process of dramatic development when changing genre inclination and size in each new variation. Both Mozart and Beethoven introduced separate “genre variations” into variation cycles, but never before Beethoven’s opus 34 had the genre side of the variation cycle been so actively developed.

To confirm this, detailed characteristics of each of the variations are provided. In addition, other important aspects of the compositional structure of the cycle are considered: the features of the suite as a form of the second plan, and the associated features of drama, the concentric tonal plan and its formative significance.

The important thing is that these and other properties of the composition determine the multiplicity of its performing interpretations.

To analyze the interpretations, the following records were selected: A. Brendel (), S. Richter (1970), G. Gould (1970), M. Pletnev (1997). The author of the dissertation conducts a detailed analysis of the theme and each variation performed by the named pianists.

The difference in the time intervals with which the pianists separate the variations is preliminarily noted. In Richter's performance they are separated from each other by small, identical pauses. In Gould's video, the camera shutter is closed between variations for exactly the same number of seconds. Pletnev performs transitions between all attacca variations (perhaps this somewhat contradicts the author’s intention, who precisely records where exactly he considers it necessary to perform variations in a row). The pauses in Brendel's performance are also uniform, only he combines the variations in pairs.

A detailed analysis of the interpretations of these performers, which carefully traces the musicians’ use of the entire complex of performing expressive means (dynamics, tempo, agogics, articulation, phrasing, identification of certain layers of musical texture, etc.), allows us to generally characterize them as follows.

Brendel presents the cycle mainly in a lyrical vein. Moreover, the lyrics in his interpretation are presented in the most “positive” emotional spectrum, not overshadowed by shades of melancholy or sorrow, as, for example, in Pletnev’s recording. In relation to the work he performs, Brendel, of course, positions himself as a performing pianist, and not a collaborating pianist. His style of performance can be called “the art of the golden mean.” The individual character of each of the variations is nowhere taken to the extreme. This concerns, first of all, tempo, dynamics (especially its maximum values) and, ultimately, the figurative sphere, which is not overloaded with acutely conflicting content.

Richter, like Brendel, considered himself a musician - an executor of the author's will. In his playing, the ability to “read music” turned into service to the composer. However, by nature he was a maximalist performer, striving to elevate his understanding of music to the category of absolute truth, which he often wrote about in his Diaries. Richter’s interpretation is dominated by the heroic principle, which is atypical for the records of this cycle. The cycle is built along the lines of a gradual intensification of contrasts. Moreover, if in Brendel we hear “contrasts of states,” then in Richter they are perceived as “contrasts of actions.” The figurative sphere of lyric poetry bears the features of strict nobility and is not as developed as the heroic pole.

Gould's approach to performance is diametrically opposed - his interpretations are often highly subjective. In his opinion, repeatedly expressed publicly, when performing a famous work, a musician should do it as if he had never heard it before and, if a truly original and unexpected interpretation is born, it must be written down at all costs. The originality of Gould's recording lies, first of all, in the “polyphonic style” of performance, which is embedded in the theme and is most clearly manifested in Var. I, III, VI and in the finale, perceived as the apotheosis of the theme. What is unique is that a typically homophonic texture turns out to be polyphonically rich, and not just one that contains a hint of hidden polyphony, as, say, in Var. III. At the same time, the Canadian pianist’s playing can least of all be called speculative. It is, for example, much less “reflective in spirit” than the recordings of Brendel and Pletnev. Overall, Gould's interpretation strikes a delicate balance between the traditional and the uniquely individual.

A balance of this kind is also present in Mikhail Pletnev’s recording, however, the components of this balance of forces are somewhat different. First of all, it is necessary to note the special integrity of the performing construction of the form. This concerns the general plan of drama, where Var IV (march) is a watershed, on either side of which there are three major variations (the finale can be considered another variation). This also applies to each individual variation, where rubato becomes the most important principle of performing form-building, revealing, on the one hand, the natural, “speech” asymmetry of phrases, on the other, emphasizing the balance of periods within the simple three-part form of the theme. Compared to Brendel or Gould, Pletnev plays a lot non legato, uses the finest gradations of dynamics from mf and quieter, which contributes to the lightness and transparency of the sound texture. In the figurative sphere of this interpretation there is a desire for the whimsical, ambiguous, for “unexpected angles” combined with a special contemplative lyricism and narrative.

With all the diversity of these performing interpretations, they have one fundamental similarity. In each there is a noticeable tendency to perceive the cycle as a suite of miniatures. Regular pauses between variations are one of the evidence of this perception, born, of course, from the compositional properties of the work.

ChapterII. Development of a “new manner”.

Fifteen variations (with fugue) op.35

and issues of their performing interpretation.

This chapter examines a range of issues related to the structural features of the cycle, the use of polyphonic genres, and the originality of the use of thematic material ( Subject And Basso del Subject), developed in parallel in a number of other works (the finale of the ballet “Prometheus”, Twelve Country Dances for Orchestra WoO 14, the finale of the Third Symphony).

Unlike the Six Variations op.34, the main feature of the composer's concept of the Fifteen Variations op.35 is the end-to-end development of the musical idea throughout all parts of the work. sees this overcoming isolation variational form, which should probably be understood as overcoming the isolation of individual variations. However, it must be added that the composer spent a lot of effort to overcome openness of form, originally characteristic of variations. The completeness of the dramaturgical profile of the cycle is prepared and emphasized by the composer in a variety of ways. It is for this purpose that the fugue is introduced, which is the most important means of cementing compositional unity. In addition, thanks to such an active use of polyphony, Beethoven significantly expanded the boundaries of the artistic content of the variations, raising them to a higher level in the genre hierarchy in comparison with the modest place they occupied in the era of Viennese classicism. In this regard, the work outlines the process of gradually strengthening the role of polyphonic forms and methods of polyphonic development in the works of J. Haydn and L. van Beethoven. In their musical heritage, the author traced all the examples of the inclusion of variations as a simple form in the composition of sonata-symphonic cycles.

Surprisingly, performance interpretations of the op.35 cycle do not contain such a variety of readings as can be found in the interpretations of op.34. If you compare the notes of A. Brendel, W. Kempff, E. Gilels and S. Richter, you can not only discern similarities in them, but even determine the general direction of the development of their artistic concepts. Perhaps this is partly due to the fact that the recordings in question were made over a relatively short period of time, limited to two decades, so they belong to one era, one type of performing perception. However, the author’s compositional plan also plays an important role here, which, apparently, does not imply such a performance bringing, as it was in the “small” cycle. Thus, in constructing the dramaturgy of the whole, the named pianists demonstrate almost complete identity. The variations are combined into three large blocks: the first - from Introduction to Var. XIII inclusive, the second – Var. XIV–XV, third – fugue and finale.

Considering each block of variations separately, one more conclusion can be drawn: the first of them contains the most variants of performance structures, which is again due to the artistic and compositional features of the work.

Analysis of a large number of recordings, and not only those mentioned above, also allows us to say that, despite the diversity of interpretations, their creators adhere to a generally unified understanding of the figurative content of the work.

For a detailed analysis of performing interpretations, the work selected the recordings of S. Richter (1970), E. Gilels (1982), A. Brendel () and G. Gould (1970). According to the performing style, this series falls into two unequal groups: the first three recordings and the performance of G. Gould. In the first case, we have before us examples of musical academicism in its best manifestations: positioning the performer as a “conductor of the composer’s will,” who treats the author’s text with care. As for the interpretation of the Canadian pianist, he strives, first of all, to convey his individual idea and, for the sake of its implementation, operates with details at his own discretion. There are no actual textual changes in Gould's playing, but he significantly changes the architectonics of the composition, not observing the author's principle of reprise repetitions of parts.

The main feature of Richter's interpretation is the combination of the scale of construction of performing dramaturgy and the deep figurative, philosophical and psychological content of each variation.

The focus of Gilels's performing attention is not so much the philosophical as the active-effective side of the general process, which forms the specific holistic figurative atmosphere of the composition being played, subordinating all expressive performing means to it.

The analysis of A. Brendel's recording is preceded in the work by a translation of his comments to op.35 from the book “Music Sounded Out” (London, 1995). The pianist draws attention to the unusually bright contrasts that arise in the process of varying the cycle, and notes that very often such sudden comparisons transfer the artistic content into the realm of the comic and grotesque. This commentary can be used as an epigraph to Brendel's entry, since he really very carefully builds a line of contrasts both within and between individual variations, thanks to which his interpretation has a pronounced theatrical character.

In all interpretations, of course, the general color of the sound is also indicative. Richter and Gilels “sound” the musical texture primarily as a piano, while Brendel probably focuses on orchestral and operatic colors. It is difficult to say which style of playing – “piano” or “orchestral” – more adequately reflects the author’s intention. On the one hand, Brendel's sound palette seems more diverse overall. On the other hand, “timbre detail” leads to a chamber sound. Richter's climactic constructions are sharper in their dynamic profile.

Glen Gould's interpretation addresses a number of serious issues in contemporary performance. The pianist, as already noted, changes the “reprise plan” of the composition. He repeats both sentences only in the bass theme, as well as in Theme, Var. IV, V, VI, VIII and Var. XIV–XV, where repetitions are written out. In other cases, repetitions are either omitted altogether (Var. I, III, IX, X, XIII), or only one is repeated, most often the first sentence. In relation to most performances, the Canadian pianist's cycle is shortened by almost 4 minutes of sound, which is approximately a quarter of the time of a normal performance.

As far as can be judged from the available records, none of the pianists dared to do this, since many of them believe that failure to perform repetitions is “sabotage” of the author’s will and inevitably leads to the destruction of the form of the composition. However, the tradition of the past allowed the performing musician to choose which variation to play and which to skip, and the same choice was made regarding reprises. As a few, but in our opinion, convincing examples of such practice, we can cite the first part of Mozart’s Sonata KV 331 in Rachmaninov’s recording and Brahms’s Variations on a Theme of Paganini in the recordings of V. Backhaus and A. Benedetti-Michelangeli. Thus, the performer could build the dramaturgy of the cycle at his own discretion.

The changes made by Gould are subordinated to one artistic idea of ​​​​comparing two topoi - heroic and lyrical. The “lyrical variations” are dominated by deep, even slightly exalted expression, while the “heroic” variations are dominated by a kind of impulsive mobility. As a result, by “compressing” thematic material and sharpening contrasts (by eliminating repetitions), the pianist achieves a dual goal: creating continuity in the development of dramaturgy and identifying bright, conflicting drama in it.

In general, speaking about the peculiarities of the performance by modern pianists of the Fifteen Variations with Fugue op.35, we can note the tradition that exists today. It goes back in its foundation to the author's intention, since the gradual development of the theme from an exquisite but chamber country dance to a triumphant, jubilant apotheosis is embedded in the dramaturgy of the cycle. And this general line is not subject to rethinking by the performers. However, despite the general similarity of the artistic concept, the interpretations of outstanding performers undoubtedly have their own characteristic, recognizable features, their own unique features, that is, they successfully combine the “author’s will” and the individuality of the performer.

ChapterIII. In line with tradition.

24 Variations on a Theme of Righini D major (WoO 65).

32 Variations on an original theme in c minor (WoO 80) .

Musicological and performing interpretations .

These two cycles are much closer to the strict style of variations than op.34 and op.35, however, in our opinion, they deserve separate consideration.

The section on the 24 Variations on a Theme of Righini in D major (WoO 65) begins with a description of the borrowed theme of the cycle and the features of its variation. From the point of view of melody, it is not very individualized, since it is not marked by either memorable melodic turns or exquisite harmonization. According to the classification, the topic unconditionally falls into the category of “generalized topics”. There are only general contours of the melodic line and the simplest harmonic basis (with the characteristic retention of the dominant third in the final cadence). Such a somewhat schematic structure of the theme “lays in” great opportunities for further variation, because in this process the author has the chance to introduce both bright melodicism and fresh harmonies, thereby showing his skill.

The compositional features of the cycle are noted, on the basis of which it is defined as intermediate in type between the classical variations and the variations of the “new manner”. Its structure (with a large expansion of the two final variations) can be considered a sketch for both the Fifteen Variations with Fugue and the 33 Variations on a Waltz by Diabelli. However, unlike these two more mature cycles, it does not have such a convincing unifying dramatic line. Because of this, there is an apparent disproportion in the scale of the two final variations to the previous section, which becomes the main problem in its interpretation. Options for solving this problem are considered using examples of interpretations of the cycle by A. Brendel () and M. Pletnev (1997). Various options for constructing the performance form are recorded: the variation cycle itself with a bright final culmination in Brendel and the variation cycle with features of sonata as a supporting form in Pletnev.

Based on the material of these recordings, the issue of different attitudes of musicians to the interpreted composition is raised: either from the prevailing subjective positions, or from the most objective positions. The principle of conflict-free dramaturgy of the cycle is also discussed as a possible reason for its unpopularity as a performer.

32 Variations on the original theme in c minor (WoO 80) are certainly rigorous. They have features of chaconne and passacaglia, as the oldest varieties of this type of variation, which could already be considered archaic in Beethoven's time.

Various interpretations of the structure and dramaturgy of the cycle contained in the works of musicologists (O. Klauvel, P. Mies, etc.) and performers (G. von Bülow) are analyzed. Based on their study, a version of the internal grouping of cycle variations, developed by the author of the dissertation, is presented.

The relative pianistic accessibility of this work, combined with its bright artistic content, made it the most performed among the composer’s other variation cycles. A detailed performance analysis of the work is given using the example of interpretations (1925), V. Horowitz (1935), A. Brendel (), G. Gould (1966).

In connection with Rachmaninov's recording, possible objective and subjective reasons are discussed that prompted the performer to undertake a shortening of the cycle. The features of Rachmaninov's compositional structure resulting from this reduction are considered.

Based on a comparison of a large number of different interpretations of the cycle, it is concluded that the performing dramaturgy of the 32 Variations significantly depends on what the pianist is more inclined towards - the static variation form of strict variations or the dynamism of the developmental development contained in them.

ChapterIV. On the top. 33 variations on the theme of Diabelli's waltz op.120.

Musicological and performance readings.

This Beethoven cycle especially often attracted the attention of researchers and performers (G. von Bülow, W. von Lenz, A. Schnabel, W. Kinderman, A. Brendel, etc.), who reflected on its various features: figurative structure, style, history creation and composition, means of drama and variants of its performing interpretation. The work compares and analyzes those provisions contained in well-known publications, which provide the necessary basis for understanding the problems of interpretation of this work, and notes parallels with other works of this genre.

For the first time in Russian, V. Kinderman’s table is presented, based on his study and decoding of Beethoven’s sketches for the cycle. Various interpretations of the figurative structure of individual variations are given (lists of titles by W. von Lenz, J. Uhde, W. Kinderman and A. Brendel), their internal grouping.

Analysis of the performer's readings of the work helps to clarify the features of its composition. Thus, in the previously mentioned dissertation work “The Internal Structure of the Variation Cycle and Its Artistic Significance” it is stated (probably based on calculating the total number of bars of the composition) that Var. XX is located at the “golden ratio” point. In real performance (and this is confirmed by all the recordings we listened to) Var. XX turns out to be almost exactly in the middle of the total playing time of the entire cycle.

The interpretations of A. Schnabel, D. Barenboim, A. Brendel are analyzed. Just as in the previous chapter, the main emphasis is on considering the problem of the integrity of interpretation (as one of the central ones in the performance of such a large-scale work) and studying the ways to solve it, which are contained in the interpretations of the listed pianists. Their interpretations are also analyzed from the point of view of the figurative structure, the grouping of variations, and the construction of a general dramatic line of development.

Arthur Schnabel's performance of the cycle is historically the earliest to survive on record (1937). It vividly embodies many of the characteristic features of the pianist’s performing appearance, which are in harmony with the late Beethoven style. In the spirit of integral performance dramaturgy, the pianist’s special understanding of one of its most important elements – contrast – is revealed. Contrasting elements (without losing their individual character) form a single harmonious whole, despite the opposition of individual variations or sections within one of them. As a result, the emotional palette seems unusually capacious precisely because of its extraordinary diversity. In addition, the direct, sincere emotionality in the playing of the Austrian pianist is perceived as if in the facet of a great internal culture, which gives his performing appearance the character of genuine aristocracy. Schnabel is alien to an overly intellectualized approach to performance, but also to expressive, unbridled emotionality, which brings contrasts to the feeling of “border zones of consciousness,” as we hear in D. Barenboim’s recording. It is impossible not to note Schnabel’s careful attitude to dynamics, when the beauty of sound always remains a priority quality.

Richter's performances are captured in several recordings. The work analyzes the earliest of them (from a concert in Moscow on January 29, 1951), since, in our opinion, it more fully reflects the originality of the pianist’s performing style. The distinctive feature of his interpretation is determined by the features of a bright conflictual drama, which is not typical for performing readings (among them interpretations in the spirit of intellectual, reflective lyrics in combination with emphasized, somewhat grotesque comedy) of this cycle.

From the point of view of performance form, Richter's reading has a very clear internal structure. It is divided into several blocks, in each of them the culmination is clearly marked, which becomes the result of a noticeable dynamic increase. It seems that Richter seeks to introduce into the interpretation of the work, written in variation form, the drama and continuity of thematic development characteristic of Beethoven's symphonism.

If in relation to many interpretations one can speak of a “double-headed peak” of the cycle, then in Richter’s reading the peak has one peak, and this is precisely the Fugue. Dramatic weight of minor vars. XXIX–XXXI and the final Minuet in Richter’s interpretation are incomparably smaller than what they acquire in the playing of Schnabel, Sokolov, Brendel and many other pianists. The overall picture of sharpened dynamism and aspiration of his interpretation is complemented by perhaps the highest average tempo in comparison with the listed performers. The bias towards the active side of figurative content leads to the fact that the lyrical sphere noticeably recedes into the background in Richter’s interpretation.

More clearly than other artists, the sound of Richter’s cycle reveals the features of classical variations, which, along with bold innovation, are certainly present in this opus. While most performers emphasize the “departure from the theme” that occurs in the process of variation, Richter keeps the connection of each variation with the theme in constant focus. Their commonality is expressed in hidden dancing and strict organization of the performing rhythm, which does not imply large agogic deviations. The latter is especially characteristic of lyrical variations.

One gets the general impression that Richter is much more concerned about the harmony of the performing form of the whole than about the details. He is interested not so much in the filigree decoration of each variation, but in the brightness and persuasiveness of the construction of the overall dramaturgy of the work. The cycle in his interpretation acquires compositional harmony and ease of perception - qualities that are perhaps the most valuable in the performance of works of such a significant scale. This artistic result is largely achieved thanks to the manifestations of indomitable temperament and the enormous inner conviction with which the artist realizes his plan.

In the voluminous list of interpretations of the 33 Variations, a special place is occupied by G. Sokolov’s recording (concert in St. Petersburg, 1985). His performance gives the impression of Mozartian ease of development and almost unpredictable improvisation, the continuity of the process of music-making itself.

This illusion of spontaneity is combined with another important quality - an infinitely deep immersion into the world of each variation, the desire to convey the rich content of each of them as fully as possible. Such harmony of the “micro- and macro-worlds” of the work allows the artist to build extended dramatic lines and saves the performance as a whole from excessive fragmentation. This shows similarities with Schnabel's interpretation.

Sokolov is attentive to the initial presentation of the theme, which many pianists perceive as some kind of bizarre exhibit of a musical cabinet of curiosities. It is sometimes played harshly and aggressively, deliberately primitive in phrasing. Sokolov emphasizes its two main properties: on the one hand, gallantry (it is heard in the title motive of each sentence and in their cadence endings), on the other, a powerful impulse of dance movement that literally breaks out from within the repeating chords.

In Sokolov's performance of many variations of the virtuoso plan, the combination of fast tempos, articulatory clarity and natural phrasing is especially impressive. The pianist achieves no less effect in slow, lyrical fragments, in which he shows extraordinary mastery of performing time.

If Sokolov’s performance is marked by smooth internal transitions, then D. Barenboim’s interpretation is built on the opposite principle – contrast. It is sharpened to the point of grotesqueness in the very topic itself. Her reading reveals a frantic dance quality, radically different from the neutral character that we hear in the performances of Schnabel and Sokolov. Even Richter’s performance, with its impulsive energy, seems more emotionally balanced in comparison with Barenboim’s performance.

Var adds an even greater impression of grotesquery (thanks to the chanting of ponderous iambic phrases). I. In general, the extra-personal character - in the most inhumane sense of the word - manifests itself in Barenboim’s interpretation very often, which is reflected, in particular, in the sound picture. It sometimes turns out to be almost naturalistic, especially with regard to volume. Such a performance has a deep impact on the listener, as it directly appeals to his subconscious emotionality. And yet, it can frankly shock those who are accustomed to perceiving musical art from a more intellectual perspective.

The lyrical variations are also marked by a specific figurative structure: they display moods of detachment and apathy that are unusual in other interpretations. Barenboim's extremely slow tempos, which are not always maintained until the end of the variation, are often controversial.

Before turning to the study of Brendel's interpretation, the author of the dissertation examines his essay, in which the pianist analyzes the theme, variations and provides them with titles. Actually, there are even two such lists of titles. Explaining the first of them, the pianist writes that he can imagine variations expressed in the four “classical elements”: earth, fire, water, air. These are probably the figurative associations that helped the pianist create his own musical interpretation. The work notes both common and different points between the verbal “portraits” of the 33 Variations and the sound embodiments in Brendel’s recording. His interpretation has a clearly drawn structure, in which the last five variations form the final and most important round of development of performing dramaturgy. The dominant position of the last block of variations is determined not by the expansion of the boundaries of dynamics or tempo, but, first of all, by the depth of figurative comprehension.

At the same time, Brendel's performance at times remains very restrained emotionally. Moreover, it is precisely in this aspect that there is a cardinal discrepancy between the characters of his musical performance and his literary program, in which the pianist speaks of the huge variety of mental states contained in the work, and that Op. 120 seems to him, in the broadest sense of the word, to be a comic composition. The foregoing does not detract from the overall artistic merits of Brendel's recording.

Comparison and analysis of various interpretations of op.120 leads to the following conclusion: each of them bears the stamp of the performer’s bright artistic individuality. Examples of great diversity in the construction of performing drama eloquently prove that it is far from being strictly determined by the compositional features of the work.

IN Conclusion The results of the study are summarized. It is concluded that the compositional features of Beethoven's piano variations create very favorable preconditions for the multiplicity of their performance readings.

It is noted that the genre evolution of the works under consideration directly affects the priority tasks associated with their performance. Thus, with the advent of the “new manner,” the boundaries of performing performance are significantly expanded. The individualized nature of each variation and the sharp contrast of their comparison allow the performer to reveal more refined facets of his creative world, expand the coordinates of the figurative and emotional dimension, and deepen the psychological content of the interpretation. The opportunity is provided for a more diverse and large-scale construction of performing dramaturgy, in particular, its climax zones.

A summary conclusion is made about the extreme importance of considering performance readings for studying the features of the compositional structure of Beethoven's piano variations.

General characteristics of the performing musicians are given, whose interpretations have been repeatedly considered in this work. It is noted that piano performance is developing in line with the general trends in the evolution of musical art. The continuation of certain traditions of the 19th century (primarily romanticism) coexists with new creative quests of the 20th century. Each of the pianists, who form a specific performance concept, using the entire arsenal of artistic means to convey it, chooses their own angles in it, conducts their own dialogue with the historical memory, traditions and culture of the past, and in their own way determines their place in the present.

1. Beethoven's piano variations op.34: “New manner” of composition and performance readings // Musical Academy, 2011, No. 2. pp. 95–100 (0.9 pp.).

Publications in other publications

2. On the performance of 32 variations by Rachmaninov, A. Brendel and G. Gould (to work on the integrity of interpretation) // Issues of improving the professional training of a teacher-musician: Collection of scientific works. Issue 14. M., MPGU, 2008. P. 95-101 (0.4 pp.).

3. School of piano variations: Twenty-four variations on the theme of Righini in the work of a pianist // Issues of improving the professional training of a teacher-musician: Collection of scientific works. Issue 16. M., MPGU, 2011. P.76–84 (0.7 pp.).

4. Thirty-three variations of Beethoven on a theme by A. Diabelli in the interpretation of G. Sokolov (to the problem of the integrity of the performing form) // Questions of methods of teaching musical performing and theoretical disciplines: Interuniversity collection of scientific works. Issue 9. M., MPGU, 2011. P.51–56 (0.4 pp.).

Signed for publication: 01/16/2012

Circulation 100 copies.

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Quote By: Book of Beethoven's sketches for the years 1802–1803. P.55.

Cm.: Zuckerman V. Analysis of musical works: Variational form. P.10.

Many cultures believe that human life consists of three periods: adolescence, adulthood and maturity. These three periods correspond to the periods of the life path in numerology and are associated with the date of birth. The numbers of these periods are less important than those listed earlier, but nevertheless provide information about the background of events and situations that you encounter along the path of life. The number of the first period of the life path is obtained based on the month of birth, the second, or middle, based on the day of birth, and the third, final period of the life path, based on the year of birth. In our example, for an individual born on June 29, 1971, these numbers are calculated as follows:

1. First period of the life path: convert the number of the month of birth to a single digit: June = 6.
2. Second period of the life path: convert the number of your birthday to a single digit: 29 → 2 + 9 = 11/2 (we cannot convert the number 11).
3. Third period of the life path: convert the number of the year of birth to a single digit: 1971 → 1 + 9 + 7 + 1 = 18; 1 + 8 = 9.

6	11/2	9
Month First period Life path	Day Second period Life path	Year Third period Life path

In the case considered, the number of the first period of the life path is 6, the second is 2 with an influence of 11, the third is 9. The number 6 introduces an element of service and responsibility to others, the need to be loved, the number 11/2, acting throughout life, but most strongly in This period will add sensitivity and a certain level of resourcefulness in problem solving, softening the effect of the strong influence of the number 8 that we discussed when looking at challenge numbers. Number 9 will give you a sense of community with others, probably a desire to travel, expand your horizons, and a desire to discover the world.

The governing numbers 11 and 22, as well as the karmic debt numbers 13/4, 14/5, 16/7 and 19/1, are taken into account when interpreting the periods of the life path. For example, during these years, an individual with a life path number of 16/7 will find it difficult to find satisfaction in his personal or professional relationships. He will have to fight the desire to fulfill his ambitions regardless of his responsibility to others. Developing respect for the needs and concerns of others is the most important component of his success and happiness.

The transition from one period of the life course to another is gradual and is usually felt as a subtle change in direction. Real changes are usually felt at the beginning of the epicycle, that is, in the first personal year following the change in period. For some, the transition from one period to another occurs relatively smoothly, like a natural movement from one stage of life to another, for others this transition can cause some tension or anxiety, as principles and goals are rethought. The degree of difficulty or ease will be determined by the extent to which you have learned the lessons of previous periods, as well as your ability to harness the energy of the period number.

If you have read books on numerology, you have probably noticed some differences in determining the time frame for periods of your life path. Since they correspond to astrological cycles determined by the waxing Moon and the transit of Saturn through the zodiac sign, I allocate 27 to 30 years for each period. This makes them more consistent with the important turning points that most people experience. Calculate the start time of a new epicycle: the first personal year is an important turning point.

The lessons learned, developed talents and inclinations, and difficult tasks solved in the first period of your life's journey will mainly determine your success during the following periods. These are the most important years of laying the foundations, the years of formation, when values ​​are protected, when dreams and hopes are either nourished and encouraged, or suppressed, or even, as happens, alas, too often, dashed. Issues not resolved at this time will surface later, most likely during the most stressful periods.

Development, learning, formation of values, beliefs and behavior patterns, habits of self-reliance, confidence Productivity, contribution to the future, responsibility, construction, family and society Integration, transformation, liberation, implementation of plans, self-realization, giving, healing

The end of the first period of the life path and the beginning of the second is marked by a number of important cycles in astrology and numerology, including the first return of Saturn, the first return of the developed Moon, the first peak, the end of the 9-year epicycle. For many people, this is an important time of decision-making and transition to serious adult life. At this time, people get married and divorced, especially if for some reason they got married too young. Many are looking for permanent work and considering the possibility of starting a family. At this time, childhood passes away, and with it often childhood ideals, dreams, and hopes. The second period of the life path covers the productive phase of life, which often passes quickly, filled with a wide variety of activities and high responsibilities.

The third period of life's journey, adulthood, is considered the age of wisdom in some cultures. It marks the second Saturn return and the second new moon and brings together the energy of the fourth peak. The transition into this period is often a time of uncertainty, inner growth and change. Men and women experience this period differently. Men, who usually play the role of breadwinner during their adult years, are now relieved of this burden. Many people wonder about the meaning of life and concentrate on their inner world or quality of life. This period can bring to light unspoken or suppressed desires, talents and abilities. Quite often, men at the turn of their fifth and sixth decades acquire a hobby that helps them express themselves - painting, cooking, etc. Some are looking for someone to take care of - this side of life is not very familiar to them.

Women who have entered the third period of their life's journey have already freed themselves from caring for children. Their bodies have undergone hormonal changes. Now they look at the world around them with curiosity, looking for a way to express themselves, striving to do something significant. As if there was some kind of turnstile installed at the kitchen door. The women, turning it, went outside, and the men, on the contrary, went inside.

The degree to which you were able to overcome obstacles, develop talents and abilities, and heal childhood abrasions during the first two periods will determine your choices, as well as your ability to take advantage of the opportunities inherent in the third period. In recent years, when a very noisy and disorderly generation has grown up, this phase of life has become very important. Instead of retreating peacefully into the land of the setting sun, many fifties and sixty-year-olds play catch-up with themselves, often trying to piece together the broken and scattered pieces of their lives in hopes of experiencing a deeper, more rewarding final period.

Life Path Numbers describe hidden tendencies at work over long periods of life and should be interpreted in accordance with your character, age, circumstances and life experiences. They are not as important as the rest of your numbers discussed earlier, but still add an extra touch to the overall background. Keep in mind that these periods must be considered in connection with the larger picture painted by life path numbers, birthdays, etc. All those born in March have a first life path number of 3. But this does not mean that all people born in the world this month, enjoy social and family life during this period.

Life path number 1
This is a period of high activity and tension. You focus on developing originality, individuality and independence. This can be a rather difficult period, since it requires a lot of self-confidence, and you cannot count on the support of others. If you dig deep, be brave and overcome your feelings of insecurity. In the second and third periods, remarkable progress can be made. If the number is 19/1, you should avoid the tendency towards selfishness, commanding habits and egotism. If you have learned your lessons well, this period may push you to develop your abilities in a way that you would not have dared to otherwise. Great personal success and significant achievements are possible.

Life path number 2
During this time, your attention will be focused on personal and professional relationships. Progress has slowed somewhat and has become somewhat dependent on the contributions of other people. You may have to make compromises. You feel things deeply and may not know how to channel all your emotional energy. It is possible that you will want to please others in order to gain their approval. You enjoy working with people and have nothing against helping others. You understand the value of support and cooperation. You should learn to be patient, diplomatic, and receptive without losing face. If the period number is 11/2, you will be especially sensitive and aware of your importance, your unique life mission.

Life path number 3
This is the time to develop a healthy capacity for self-expression. Hone your communication skills by keeping a diary to record your thoughts and impressions. Hitherto hidden artistic talents can come to the surface. This is a good period for literary and theatrical activities, music, and painting. You prefer entertainment and pleasure to work and discipline. You may be distracted and temporarily lose the ability to concentrate. If you want to achieve your goals, develop persistence. You may have to sacrifice some entertainment. Don't waste your time and resources. This is a time for communication, which brings the opportunity to significantly expand your network of personal and professional connections. This is a good time to start a social and entertainment business, but you will have to force yourself to become an organized person.

Life path number 4
This is a time for home, family, hard work. You move forward slowly, paying attention to details, dealing with all the responsibilities. To successfully overcome this period, you will have to learn to respect and appreciate order, system, organization. You are doing work that you enjoy, so the period can be very productive. If you keep your expectations practical and realistic, tangible results will follow. During this period, you will have to work hard to maintain a positive attitude towards reality. Don't allow yourself to drown in the quagmire of trifles, avoid being too rigid in your habits. Stop sometimes to look at the big picture. If the period number is 13/4, you may resent the fact that work and other obligations limit your freedom. If the period number is 22/4, you will want to do something for society. It will require work and absolute dedication from you.

Life path number 5
This period of life's journey can bring a lot of change, adventure, new experiences and instability. You should expect surprises and surprises. Most likely, this period will also bring a lot of movement, travel and excitement. This is definitely not a point of stagnation and uncertainty can sometimes arise. Moving and changing jobs are possible. A constant factor is the desire for freedom. Nothing should keep you in place. Make sure your lifestyle is flexible and you are easy-going. If the period number is 14/5, you may find it difficult to focus on one area of ​​interest, rushing from one attractive opportunity to another. You enjoy change and escape responsibility. You don't like being tied to a place by something. When you're constantly on the move, you don't learn from experience. This is not a good time for long-term projects or relationships. You should learn to finish what you start.

Life path number 6
Family, friends and the support of close relationships become priorities during this period. You experience both joy and resentment due to the burden of responsibility to other people. You find satisfaction in serving others, giving and receiving love. Sometimes you may have problems with loved ones - they require too much of your time and energy. This is the time for love and marriage, but if the problems in the relationship remain unresolved, then for divorce. You can achieve greater success in business and advance your career if you work in harmony with others, respect your responsibilities, and maintain healthy boundaries between yourself and others. Find a balance: fulfill your obligations, but do not command or interfere in the affairs of others.

Life path number 7
This period requires you to concentrate on your inner world and distract yourself from the turmoil of your material environment. Sometimes this process is accompanied by a loss of interest in money and material values, and often by financial losses. This may be a calm period of life, characterized by a lack of craving for social life and worldly vanity. This is a wonderful period for study, research, advanced training, development of your spirituality and self-knowledge. If the period number is 16/7, be careful not to be completely isolated from the outside world. You may feel special, even superior to others. This period can be difficult for personal relationships, as you do not want to share your thoughts and feelings with anyone. It may be difficult for you to understand your own inner world, let alone share it with your loved ones! You should make an effort to maintain a positive attitude and maintain your connections with the outside world.

Life path number 8
During this period, you will learn the value of money and material success. This is a great time for a career and business. You will have many opportunities to develop and use your organizational and management skills and your leadership qualities. You have insight and ambition and are focused on achieving your goals. Lack of funds can push you to develop your abilities, which will help you cope with troubles. You are full of energy and drive. Be careful, material goals should not blind people from you. During this period, the family is relegated to the background. You will have to make a conscious effort to take care of your personal relationships.

Life path number 9
This period tests your ability and desire to focus on interests other than your own. It can become quite dramatic and full of emotion. Nothing seems trivial; on the contrary, every detail seems important. You are making mountains out of molehills. The more attention you pay to your personal needs and interests, the less fate favors you. A universal approach is required. Focus on what is good for society. Relationships or long-standing situations may end. You may experience pity and a reluctance to let go of the past and move forward. This is a good period for artistic and any creative activity, as well as for social life. Love, recognition and tolerance will always help you.

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Adj. Stands out among others; outstanding. Ephraim's explanatory dictionary. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language by Efremova

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Aya, oh; den, dna, bottom. Stands out among others; outstanding. Nth personality. N. musician. New abilities. N. talent, mind. ◁ Originality, and; and. N. personality. N. abilities, intelligence, talent... encyclopedic Dictionary

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Have you decided to part with mediocrity? Wonderful. First of all, find her. Look at what areas of your life have let you down? Write them down. We'll need this soon.

2. Ruthlessly honest with yourself

If you have embarked on the path of change, leave self-deception and sweet illusions. Look straight - who are you? You can start with social roles: son, father, brother, matchmaker. Have you decided? Now think about what could be holding you back or limiting you - a mortgage, loans, or maybe military duty. Ready? Now is a pleasant stage of reflection - think about your achievements and advantages (we count everything, even an honorary diploma from the kennel club). Honest and detailed answers will show a clear picture of your life.

3. Dream boldly

Don't let the future scare you. Don't listen to your inner voice if it tells you that you will never be a great musician and that your bongo playing is a waste of time (the inner voice likes to convince us that our dreams are unattainable). Dream, write down all your incredible desires. In the coming weeks, you will take a good hundred steps towards your dreams.

4. Seek balance

There will be no easy path to excellence. Do not wait. But there will always be a contradiction between the realities of life (point 2) and crazy dreams (point 3).
Recognize this and stick to the “golden mean” - do not become immersed in worries, forgetting about yourself, and do not turn into an egoist, focusing on personal desires.

5. The goal is not the end point of the journey

Trying to find your purpose in life is one of the most thankless jobs. And if at the same time you think that there should be one goal in life, you need to decide on it in your youth, or that the goal will give meaning to life, you risk forever getting stuck in the swamp of mediocrity.
Forget about finding your goal. It is an endless process that will drain you. Instead, live with purpose. Do what you consider important, what you enjoy.

6. Get started

It’s trite, but every path truly begins with the first step. Go back to the list you made at the beginning and write down a list of first steps for each item. You don't need anything global - a small step. Get started. Update your resume, wake up 10 minutes earlier in the morning, lose half a kilogram. The first step is half the battle.

7. A little is better than nothing

Keep these words visible. Make a magnet with this inscription and attach it to the refrigerator. Place a sticky note with these words on your bathroom mirror. If you don't have time to learn 20 new English words, learn five. If you don’t have time to run five kilometers, run one. A little is better than nothing.

8. The finish line is always unknown

Nobody knows where he will be tomorrow. Don't expect that you can predict the consequences of all your actions, or that every step will take you where you planned. Don't think about it. Just start. And don't stop.

9. Take a shortcut

10. Famous ≠ extraordinary

Extraordinariness is not determined by fame, money and crowds of fans. Extraordinary writes outstanding books, even if no one reads them. Sings even if no one hears. Because he can’t do otherwise. The most important thing is to follow the path that you like. And try to do it masterfully.