№ 3 (85) 2019

Alexander Merkulov (Moscow). Kadentsiya Karla Cherni k Pervomu fortepiannomu kontsertu Bethovena iz “Systematische Anleitung zum Fantasieren auf dem Pianoforte” op. 200 (1829) / Carl Czerny’s Cadenza to Beethoven’s First Piano Concerto from the “Systematische Anleitung zum Fantasieren auf dem Pianoforte” op. 200 (1829)

The article focuses on Carl Czerny’s Cadenza to the First Piano Concerto by Beethoven first published in “Systematische Anleitung zum Fantasieren auf dem Pianoforte” op. 200 (1829). The intonation-thematic content of the cadence, its tonal plan and texture, its degree of virtuosity, length, and the instrumental range are studied. At the same time, the Czerny’s cadence is considered in the general context of the history of this genre. As an appendix to the article, the full text of Carl Czerny’s cadenza for Beethoven’s First Piano Concerto is published for the first time in Russia.

Keywords: cadenza; piano music; concerto; Carl Czerny; Ludwig van Beethoven; Beethoven’s Concerto op. 15.

Irina Gerasimova (Pskov). “Molitva Manassii” v partesnykh sochineniyakh epokhi barokko: teksty, redaktsii, unterpretatsii / “Prayer of Manasseh” in Baroque partes compositions: texts, redactions, interpretations

The author studied three Baroque choral compositions written on the Biblical Manasseh’s prayer. These are four-voice sacred concertos “Sogreshikh pache” and “Plachi dushe”, written by Nikolay Diletsky (c. 1630-1690), a composer from the Polish–Lithuanian Commonwealth, who served at court of Russian tsar Fedor Alekseyevich (1676–1682), as well as three-voice concerto “Sogreshikh pache”, probably written by Thomas Sheverovsky (1646/47–1699), who was the court Kapellmeister of the Metropolitan of Kiev Kyprian Zochovsky. The article shows how composers conveys the idea of deep repentance by means of musical expression and how rhetorical figures is used in their choral writings. The full score of Diletsky’s concerto “Plachi dushe” attached in the annex to the article. This first publication of “Plachi dushe” is based on the manuscript copy of 1723.

Keywords: Mannasech; prayer; Nikolay Diletsky; Thomas Sheverovsky; vocal concerto; Baroque era; rhetorical figures.

Marina Girfanova (Kazan). Skvoznye muzykal’no-smyslovye linii v “Romane o Fovele” s muzykal’nymi vstavkami / Uniting musical semantic lines in “Roman de Fauvel” with musical interpolations

The article considers one of Roman de Fauvel (in edition of Chaillou de Pesstain; ca. 1317–1318) innovations consisting of the musical semantic connections between musical interpolations at a distance based on musical or textual repetitions. These story and musical lines uniting important points in the narrative are designated as “two worldly temptations”, “turning the wheel of Fortune”, and “the presence of the author in the extended edition of the novel”.

Keywords: Roman de Fauvel; medieval French literature; ars nova; motet; rondeau; fatras; Chaillou de Pesstain.

Anna Bulycheva (Moscow). Shedevr o shedevrakh / A masterwork about masterpieces

Review of book Teatral’noe prizvaniye Gendelya: ocherki o shedevrakh (George Frideric Handel’s theatrical vocation: essays on masterpieces) by Larissa Kirillina. This monograph published in 2019 considers the main aspects of theatrical practice, which is associated with a significant part of great composer’s life and work.

Keywords: George Frideric Handel; Baroque music; theater; opera.