Abstract
The article is devoted to the little-studied problem of correlation between the compositional and pedagogical components in Medtner's heritage. It indicates important stages of Medtner's development as a pianist in connection with his work at the Moscow Conservatory. Medtner's compositions are analyzed in which he pursues not artistic and expressive tasks, but rather sets important technical goals as a teacher, passing on his vast experience as a piano playing mentor. There is much printed and oral evidence that Nikolay Karlovich attached great importance to working on technique, but did not use fragments of plays as Corto did. The article provides composer's comments on his repertoire as a pianist, and deciphers the repertoire that Medtner went through with students at the Moscow Conservatory. Attention is focused on Medtner's three titles: composer, pianist, teacher, with all three developing in parallel, but in different proportions during the musician's life in Russia and during his forced emigration abroad. It is proved that among the three hypostases of the composer, the mutual influence of creativity on pedagogy and teaching on the creative process is especially noticeable.
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