№ 1 (83) 2019

Anna Filippova (Moscow). Choral Aus der Tiefen rufe ich (BWV 246/40a) i muzyka “Strastey po Luke” neizvestnogo avtora / Chorale Aus der Tiefen rufe ich (BWV 246/40a) and the St Luke Passion by an unknown author (pp. 1–9)

Bach’s practice of performing Passion music by other composers in 1730–1740s is considered in the article. A special attention is paid to the St Luke Passion (BWV 246) and the chorale Aus der Tiefen rufe ich, which autograph was found in the 20th century in Japan. Bach placed the arrangement of this chorale for instruments in conclusion of the first part of the St Luke Passion (BWV 246). The author pays attention not only to Bach’s technique as an arranger, but also to Bach’s insight into concept of anonymous composer. The article discusses the ideas that Bach could have guided in the process of preparing the St Luke Passion for the performance in Leipzig.

Keywords: Johann Sebastian Bach; St Luke Passion (BWV 246); The Gospel according to Luke; church music; anonymous musical compositions; chorale Aus der Tiefen rufe ich (BWV 246/40a).

Anna Bulycheva (Moscow). Concerto, concentus, kontsert: partesny kontsert v kontekste barochnoj terminologii / Concerto, Concentus, Kontsert: the Partes Concerto within the Context of Baroque Terminology (pp. 10–17)

The author examines existing definitions of the partes concerto (and Russian sacred concerto as a whole) and analyses some shortcomings. The concerto is compared with the other musical genres of early baroque period, such as motet, psalm and sinfonia. The coexistence in Russian partes manuscripts of both concert and concent is discovered. The possible path of penetration to Russia of the Latin word concentus is considered. For the first time, the system of definitions for Russian partes, classical and early romantic sacred concerto is established.

Keywords: church music; sacred concerto; concentus; partes concerto; motet; terminology; Baroque; Michael Praetorius.

Anastasia Vasilenko (Voronezh). Dzhuzeppe Tartini i ego “Pravila vedeniya smychka” / Giuseppe Tartini and his Regole per le Arcate (pp. 18–25)

The publication contains the first Russian translation of Tartini’s Regole per le Arcate (“Rules for the use of the bow”) an introduction of his Treatise on Ornamentation. The text is accompanied by necessary introductory article and comments explaining some Tartini’s ideas and the relevance of his theory.

Keywords: Giuseppe Tartini; violin; bow; Baroque music; Treatise on Ornamentation; Regole per le Arcate.

Sergey Nikiforov (Moscow). Iz literaturnogo naslediya Georga Filippa Telemana i Ioganna Mattezona / From the literary heritage of Georg Philipp Telemann and Johann Mattheson (pp. 26–31)

It is known that Telemann and Mattson were not only great composers, but also talented poets. The publication contains the first Russian translations of two Telemann’s poems dedicated to Matteson and Matteson’s Ode addressed to Telemann. The text is accompanied by introductory article and detailed scholarly comments.

Keywords: Georg Philipp Telemann; Johann Mattheson; poetry; translation; comments.