F. Schubert's Vocal Cycle “Die schöne müllerin” as Teaching Aid for the Professional Training of Concert Pianists

The article analyzes F. Schubertʼs vocal cycle Die schöne Müllerin from the point of view of its potential for professional training of pianists-accompanists. We are talkind about the development of an artistic concept of performing interpretation, the relationship between poetic and musical components, between vocal and piano parts, the types of ensemble texture and development of the ensemble qualities of a vocalist and pianist. It is concluded that the piano part plays not only the role of voice support here, but is also an important constructive component of the composition. The elements of instrumental figurativeness give to music visibility and tangible reality. They are associated with the show of the image of the Brook, as well as the reproduction of various sounds. Accompaniment is also important from the viewpoint of the ladoarmonic and thematic processes of the cycle. Highlighting the most expressive short melody on the piano, then Schubert develops it into the vocal part. The accompaniment with its own intonative material sometimes seems relatively dependent of the vocalist's part, offering only harmonic support although, often the piano part contains intonative material, equivalent to the vocal one. Work on the proposed cycle, gives to pianists-acompanists an excellent opportunity to develop technical and working qualities in ensemble, stimulate their imagination, etc. Piano accompaniment is likewise important from the outlook of the modal-harmonic and thematic processes of the cycle.