№ 2 (76) 2017

Valery Berezin (Moscow). Istochnikovedenie v stenakh Moskovskoj Konservatorii / Source Criticism in Moscow Conservatory (pp. 1–2)

The review of the musicological conference on problems of a musical source 3riticism which took place in the Moscow Conservatory in April, 2017.

Key words: musicology; source criticism; Moscow Conservatory.


Marina Girfanova (Kazan). Muzykovedcheskaya konferenziya v Kazani / Musicological Conference in Kazan (pp. 3–5)

The review of the International musicological conference “Musical Culture of the 17–18th Centuries and Present” which took place in the Kazan conservatory on March 30, 2017.

Key words: musicology; conference; music of 17–18th centuries; Kazan conservatory.


Pavel Luzker (Moscow). Eudossa vs. Atenaide: o proiskhozhdenii libretto G. Bonecchi “Eudoxia venchannaya” / Eudossa vs. Atenaide: on the Origin of Giuseppe Bonecchi’s Libretto Eudossa incoronata (pp. 6–11)

The last libretto by G. Bonecchi is conventionally considered as his most successful and original work inspired by the image of Russian empress Elizabeth Petrovna and by the events of Byzantine history where the Russian Empire found its roots. Despite the author claimed only the Byzantine chroniclers as his predecessors in reality he based on libretto Atenaide by Apostolo Zeno (1709). From here he has derived the construction of the plot, the images and relations of characters and even the certain quotations of text. In the strict sense the Eudossa incoronata cannot be defined as complete plagiarism of Zeno’s play since Bonecchi has made a number of changes in order to adapt it to the new circumstances, but it cannot be considered his own invention and remains only a revision of the libretto by Zeno.

Key words: G. Bonecchi; A. Zeno; libretto; opera seria.


Sergey Nikiforov (Moscow). Telemann i Handel: tsvety poluvekovoj druzhby / Telemann and Handel: The Flowers of the Fifty-Years Friendship (pp. 12–18)

Telemann and Handel were connected by long friendship. It is confirmed by their correspondence, as well as interest in music of each other. Telemann often executed Handel's operas in Hamburg. And Handel creatively apprehended the separate musical ideas from Telemann's "Musique de Table", having used them in his own works. The two remained Handel's letters to Telemann translated in Russian are published in addition to the article

Key words: G. Ph. Telemann; G. F. Handel; Musique de Table; musical borrowings.

Marina Reznichenko (Moscow). K voprosu o tvorcheskoj deyatelnosti Tomasa Luisa de Victorii v kontekste reform religioznoj muzyki v Rime vo vtoroj polovine 16 stoletiya / Tomás Luis de Victoria’s Works in the Context of Church Music Reform in Rome in the Second Half of the 16th Century (pp. 19–25)

Reform of polyphonic church music influenced works of many composers working in Rome in the second half of the 16th century. The author analyzes style features of Tomás Luis de Victoria’s polyphonic compositions written according to new requirements of liturgical practice.

Key words: Tomás Luis de Victoria; Counter-Reformation; church music; polyphony.


Polina Podmazova (Moscow). Rodolphe Kreutzer i ego skripichnye konzerty / Rodolphe Kreutzer and his violin concertos (pp. 26–29)

The author tells about Rodolphe Kreutzer – the famous French violinist and the composer of late 18th – early 19th century. Also the article contains short analysis of Kreutzer’s violin concertos.

Key words: R. Kreutzer; French music; violin; concerto.


Valentin Antipov (Moscow). Novoe ob instrumentalnykh zhanrakh epokhi barokko / New information on forms of Baroque instrumental music (pp. 30–31)

Review of a book: Yury Bocharov. Instrumental forms of Baroque music (Moscow, 2016).

Key words: Baroque music; instrumental music; musical form.