№ 4 (86) 2019
Pavel Lutsker (Moscow). “Nimfy lesov” Zhoskena Depre i “Smert’, ty pronzila svoim zhalom” Okegema: rabota po modeli ili dialog / “Nymphes des bois” by Josquin des Prez and “Mort, tu as navré de ton dart” by Ockeghem: a work after the model or a dialogue (pp. 1–8)
The article discusses two déploration compositions by Josquin des Prez and Johannes Ockeghem. This genre was created by Ockeghem himself, who wrote “Mort, tu as navré de ton dart” (c. 1460) on the death of his teacher Gilles Binchois. Since a work after the model was one of the most important creative methods for Renaissance composers, one could expect that Josquin, when creating “Nymphes des bois – La déploration de Johan Ockeghem” (c. 1497), strictly follows the form of Ockeghem’s composition. However, the analysis shows significant differences between these two works not only in the content of the texts, but also in their compositional structures. Nevertheless, their music still has some commonality: both Ockeghem and Josquin clearly stylize the music features of their predecessors. However, Josquin makes a sharp stylistic change in the second part of his composition, continuing to write in his individual style. Thus, he emphasizes the Renaissance idea of the autonomy of art and the continuity of the artistic tradition by means of music.
Keywords: Renaissance music; Josquin des Prez; Johannes Ockeghem; Gilles Binchois; déploration; motet-chanson; ballade; cantus firmus.
Yuri Bocharov (Moscow). Nemetskij muzykant v rossijskoj Liflyandii / German musician in Russian Livland (pp. 9–16)
The article is dedicated to the life and work of Johann Gottfried Müthel (1728–1788). This German composer was one of J. S. Bach’s students. He is little-know in Russia although he spent most of his life in Riga, which was part of the Russian Empire. The author notes the stylistic originality of Müthel’s music and non-standard compositional features of some Müthel’s instrumental works. He also draws attention to the fact that Müthel is the author of the first ever published work for two pianos, as well as one of the earliest concerts for two solo bassoons. The article doubts the authenticity of a portrait of Müthel from the Internet and also updated information from “Neue Deutsche Biographie” on Müthel’s life in Riga, in particular regarding the period of his work as head of the house chapel of Baron Otto Hermann von Vietinghoff.
Keywords: J. G. Muthel; J. S. Bach, 18th-century music; gallant style; Sturm und Drang; concerto; harpsichord sonata; Riga; Livland; Baron von Vietinghoff.
Alexei Panov, Ivan Rozanoff (St Petersburg). O postanovke ruk i tushe frantsuzskikh klavesinistov epokhi Vysokogo barokko / On the setting of the hands and toucher of the French harpsichordists of the High Baroque era (pp. 17–23)
The article discusses the recommendations of early French musicians Jean Denis, Guillaume Gabriel Nivers, de Saint Lambert, François Couperin, Jean-Philippe Rameau, regarding the proper position of hands and the harpsichord touch in playing on this instrument. The paper contains a critical revision of Russian, English and German translations of historical sources. Numerous inaccuracies found in the works of modern scholars who deal with the explanation of performance instructions recommended by the High Baroque French harpsichordists have been shown and considered.
Keywords: Harpsichord, French harpsichord music, French Baroque, historically informed performance practice, Rameau, Couperin, de Saint Lambert, touch, setting the hands.
Yulia Moskva (Moscow). Sootnoshenie napeva i poeticheskogo slova v zapadnoj liturgicheskoj monodii: problema ritma / Melody and poetic text in the Western liturgical monody: the problem of rhythm (pp. 24–31)
This article is devoted to the study of rhythm in non-Gregorian genres of the Western liturgical monody – hymns and sequences. In this aspect, these genres have not been specifically investigated previously. Comparing the facts of the history of musical notation, the history of liturgics, history and theory of music, author proves that the musical rhythm in these genres is derived from the poetic metric and must be observed in performing practice. The author demonstrates his position with a series of textual or musical-textual analyzes.
Keywords: Western liturgical monody; hymn; sequence; musical rhythm; poetic metric; latin metric; stressed/unstressed syllable; long/short syllable.