№ 3 (73) 2016

Valery Berezin (Moscow). Dvadzat’ chetyre skripki korolja – “net nichego bolee voskhititel’nogo i velichestvennogo!” / Les Vingt-quatre Violons du Roy – “there is nothing more exquisite or magnificent!” (pp. 1–13)

Les Vingt-quatre Violons du Roy was one of the most famous European orchestras in the Baroque Era. The article presents information on the formation of the orchestra, its features, daily activities and service conditions of musicians.

Key words: Les Vingt-quatre Violons du Roy; Chamber music of Louis XIV; baroque violin; the daily life of French court violinists; the history of orchestration.

 

Alexandra Dvornitskaia (Moscow). Abbat Vogler i mangeimskaja muzykal’naja tradizija / Abbe Vogler and the Mannheim musical tradition (pp. 14–19)

The paper is devoted to Abbe Vogler’s contribution to musical culture of Mannheim. The author describes some features of the Mannheim musical tradition (including symphonic style, opera, church music), and her conclusions are based on authentic sources (musical treatises and epistolary). Also the problem of Vogler’s identity with the Mannheim composer school is discussed.

Key words: Abbe Vogler; Mannheim symphonies; German opera; music treatises.

 

Irina Susidko (Moscow). “Miloserdie Tita” Ch. W. Gluka (1752): v preddverii venskikh triumfov / Ch.W. Gluck’s La clemenza di Tito (1752): on the eve of Viennese triumphs (pp. 20–25)

La clemenza di Tito, written in 1752 for Neapolitan theater San Carlo, was the latest opera by Christoph Willibald Gluck composed before his moving to Vienna. Some stylistic and compositional features of the opera is considered. It allows to establish the relation between Gluck’s Italian serious operas and the works of reformatory trend.

Key words: Gluck; Metastasio; Caffarelli; Italian opera seria.

 

Nina Pilipenko (Moscow). Sud’ba operogo nasledija Franza Schuberta / A history of Schubert’s operas (pp. 26–31)

Lifetime and posthumous history of Franz Schubert’s operas is unfortunate. He composed eleven complete theatrical works, and only three of them were staged. Still after Schubert’s death, his operas became the less popular part of his works. The author tells about their difficult way to the audience.

Key words: Franz Schubert; Austrian music theatre; opera; Singspiel.