№ 4 (78) 2017

Yuri Bocharov (Moscow). K voprosu o sistematizatsii form instrumental’noj muzyki epokhi barokko / To a question of systematization for Baroque instrumental music forms (pp. 1–7)

The article deals with some versions of systematization for Baroque instrumental music forms presented in the Russian musicological literature of the late 20th and early 21st century. As a result, the author concluded that problem of such systematization remains relevant for further studying.

Keywords: musical form; systematization; instrumental music; Baroque music.

Valery Berezin (Moscow). “Akademicheskie rassuzhdemiya o tom, chto tanets sovershenno ne nuzhdaetsya v muzyke”. Konflikt frantsuzskikh menetrie s Korolevskoj akademiej tantsa / “The academic argument that dance does not need music”. The conflict between French minstrels and the Royal Academy of dance (pp. 8–17)

Based on the original 17th century documents, the author describes the circumstances of a long struggle over the right to teaching dance between the Parisian corporation of musicians (Confrerie de Saint-Julien) and the Royal Academy of dance founded in 1662 by Louis XIV.

Keywords: Guillaume Dumanoir; Confrerie de Saint-Julien; Louis XIV; violine; dance; Royal Academy of dance.

Anna Pastushkova (Moscow). Surdiny v partiturakh Antonio Vivaldi / Mutes in Antonio Vivaldi’s scores (pp. 18–25)

The article discusses the baroque methods of mute’s use for string and wind instruments in Antonio Vivaldi’s scores, in contrast with their use in later epochs. Composer’s instructions (con Sordini, con Piombi) are transcribed and analyzed, and the main roles of mutes are argued such as achieving the desired sound balance and imaging the affects.

Keywords: Vivaldi; mutes; affects; Baroque music; opera, concerto.

Natalia Ostroumova (Moscow). Filosof na Gamburgskoj stsene: “Terpelivyj Sokrat” G. Ph. Telemana / The philosopher on the Hamburg stage: G. Ph. Telemann’s “Der geduldige Sokrates” (pp. 26–31)

This article is devoted to the G. Ph. Telemann’s “Der geduldige Sokrates” which successful premiere in January, 1721 in Hamburg promoted the moving of the composer to this city. The author provides various information about the opera (summary of the libretto, features of the dramatic form and musical composition, various style tendencies etc). She also pays special attention to the important place of this work both in Telemann’s creative heritage, and in the history of the German opera in the Baroque era.

Keywords: Telemann; “Der geduldige Sokrates”; German opera; Hamburg; Oper am Gänsemarkt.