Abstracts

Starinnaya muzyka № 2 (76) 2017

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

The review of the musicological conference on problems of a musical source 4riticism 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

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

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

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

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

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

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

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

 

Starinnaya muzyka № 1 (75) 2017

Natalia Naumova (Kazan). Stepeni v muzyke v universitetakh Kembridzha i Oksforda (vtoraya polovina 15 – nachalo 17 veka) / Degrees in music at Cambridge and Oxford universities from the second half of the 15th century until the early 17th century

The article deals with the degrees in music, established in the second half of the 15th century by the universities of Cambridge and Oxford. The paper discusses the circumstances of obtaining the first degrees of Doctor and Bachelor of music in Cambridge, changes in the requirements for candidates in the period from 1462 to 1636, the correspondence of these requirements to the content of the music discipline at the university. A list of Bachelors and Doctors of music of Cambridge and Oxford (1462-1636) is attaches. It contains names of many famous English musicians.

Key words: Bachelor of music; Doctor of music; Cambridge; Oxford; English sacred music.

 

Yulia Moskvina (Moscow). Iz istorii Shtutgartskoj pridvornoj Kapelly / From history of the Stuttgart court chapel

The article deals with the history of Stuttgart court chapel in the 16th century and the early 17th century. The features of German court music in 16 century are considered. Some brief biographies of the most important composers and other musicians of the chapel are represented. Special attention was paid to musicians of Hoyoul and Froberger families.

Key words: Stuttgart court chapel; court music; Sigmund Hemmel; Ludwig Daser; Balduin Hoyoul; Leonhard Lechner; Basilius Froberger; Lucas Osiander.

 

Ivan Romanov (Izhevsk). Johann Sebastian Bach i Johann Gottfried Walther: iz istorii tvorcheskogo vzaimodejstviya / Johann Sebastian Bach and Johann Gottfried Walther: some details of their relations

The article describes various aspects of the creative connections of Johann Sebastian Bach and Johann Gottfried Walther. The question of degree of relationship of Bach and Walter and history of their acquaintance and friendship are discussed. The author consider that Bach became that great composer whom we know him also thanks to creative connections with Walther.

Key words: J. S. Bach; J. G. Walther; canon; organ transcription; concerto; choral prelude; «Musicalisches Lexicon».

 

Alexei Panov, Ivan Rozanoff (St Petersburg). Fenomenologia vs kontseptualizatsia: o terminosisteme istoricheski-informirovannogo ispolnitelstva / Phenomenology vs conceptualization: about terminosystem of historically informed performance practice

The presented article is devoted to the problem associated with the lack of a unified terminosystem in the field of Early Music. A mass of examples with erroneous interpretations of historical documents due to insufficiencies of modern musicological terminology can be found. In conclusion it is stated that the question concerns not solely the academic matters but also is of an important practical significance, because acquiring admittedly misleading instructions the performers proceed from historically informed – to historically misinformed interpretations.

Key words: Baroque; historically informed performance practice; terminology; historical musicology; interpretation of Baroque music.

 

Natalia Braginskaya (St Petersburg). «Exegi monumentum…», ili Stravinsky v dialoge s Gesualdo / «Exegi monumentum…», or Stravinsky in a dialog with Gesualdo

The article represents one of the late works by Igor Stravinsky – his instrumental arrangement of three madrigals of Gesualdo di Venosa (1960) as a product of paradoxical adaptation of features and principles typical for seconda prattica madrigal style by the XX century composer.

Key words: Gesualdo; Stravinsky; madrigal; Monumentum pro Gesualdo di Venosa; instrumentation; recomposing.

 

Starinnaya muzyka № 4 (74) 2016

Anna Nedospasova (Novosibirsk). O vklade Petra Velikogo v razvitie otechesvennoj instrumental’noj muzyki / About Piter the Great’s contribution to development of Russian instrumental music

Peter I’s activity aimed at the development in Russia of instrumental music is covered in the article, data on formation of military ensembles, playing music at court, in private life are submitted. Appearance of captured Swedish musicians in Russia during the Great Northern war accelerated process of assimilation of the European musical traditions. One of them, Gustav Blidström created the musical manuscript known nowadays as "The Tobolsk manuscript". This unique monument contains the works sounding in Siberia in the first half of the 18th century.

Key words: Peter the Great; Russian instrumental music; military music; Gustaf Blidström; Tobolsky manuscript.

 

Yury Bocharov (Moscow). Anglijskie suity J. S. Bacha: stranitsy istorii / J. S. Bach’s English Suites: a history of creation of the work

The English suites is a famous clavier work of J. S. Bach. But there is no consensus in musicology about where and when these suites were written. The author offers new version of chronology. In his opinion, Bach wrote the most part of English suites in Köten in 1721. Possibly, at the beginning of 1722 process of composition was unexpectedly interrupted. And the English suites received the traditional structure only in Leipzig (at the end of 1723 – the beginning of 1724).

Key words: J. S. Bach; English suites; clavier music; Baroque.

 

Elena Wjaskova (Moscow). Oshibka J. S. Bacha ili A. Schweitzera? (O roli duetov v “Clavierübung III”) / J. S. Bach or A. Schweitzer’s mistake? (About a role of the duets in “Clavierübung III”)

The article is devoted to the Third part of Clavierübung, one of late Bach’s compositions which is still a point of hot discussions in musicological researches. The author argues that this work has to be considered as a cycle and the Duettos add necessary factors to the unity of composition.

Key words: J. S. Bach; Clavierübung; duetto; fugue; composition.


 

Galina Petrova (St. Petersburg). Kamernye utra v Petrishule: polemika (po stranitsam Sankt-Petersburgische Zeitung, 1847–1848) / Chamber matinées at Petrischule: a polemic overview (through the pages of Sankt-Petersburgische Zeitung, 1847–1848)

The paper looks at the history of first chamber music gatherings, organized by violinist Henri Vieuxtemps and cellist Johann B. Groß as well as other musicians, analyzing the repertory that allowed for the address of new performance objectives and the consideration of musical aesthetics. The author emphasizes the fact that chamber music gatherings laid the foundations for creating the corps of the music community, outside the norms and restrictions of the ecclesiastical calendar, and the needs of the Directorate of the Imperial theatres, and salons, focusing instead solely on the art of music.

Key words: H. Vieuxtemps; J.B. Groß; public chamber matinées; musical repertoire; musical criticism.

 

Anastasiya Syreishchikova (Moscow). O russkom angagemente Berlioza: iz arhivov Russkogo muzykal’nogo obshchestva / Hector Berlioz’s Russian tour (1867): New details from the archives of the Russian Musical Society

This article focuses on the planning and organization of Hector Berlioz’s 1867 concert tour in St. Petersburg. It presents and analyzes hitherto unpublished documents related to Berlioz’s engagement by the Russian Musical Society, held in the archival collection of that organization at the Central State Historical Archive in St. Petersburg. The author reconstitutes the sequence of events and provides dates, translations into Russian and analyses of various letters, telegrams and other archival documents. The article sheds light on the way the programs Berlioz produced in 1867–1868 were developed, and compares the draft and final versions of these programs based on archival materials from the Balakirev collection at the Russian National Library. The appendix to this article provides the first Russian translation of a hitherto unknown letter from Vasili Kologrivoff to Berlioz, as well as Berlioz’s response.

Key words: Hector Berlioz; Russian Musical Society; Grand Duchess Elena Pavlovna of Russia; Vasili Kologrivoff; concert tour; letters; archive.

 

Starinnaya muzyka № 3 (73) 2016

Valery Berezin. Dvadzat’ chetyre skripki korolja – “net nichego bolee voskhititel’nogo i velichestvennogo!” / Les Vingt-quatre Violons du Roy – “there is nothing more exquisite or magnificent!”

Les Vingt-quatre Violons du Roy was one of the most famous European orchestras in the Baroque Era. The article presents information on the formation of the orchestra, its features, daily activities and service conditions of musicians.

Key words: Les Vingt-quatre Violons du Roy; Chamber music of Louis XIV; baroque violin; the daily life of French court violinists; the history of orchestration.

 

Alexandra Dvornitskaia. Abbat Vogler i mangeimskaja muzykal’naja tradizija / Abbe Vogler and the Mannheim musical tradition

The paper is devoted to Abbe Vogler’s contribution to musical culture of Mannheim. The author describes some features of the Mannheim musical tradition (including symphonic style, opera, church music), and her conclusions are based on authentic sources (musical treatises and epistolary). Also the problem of Vogler’s identity with the Mannheim composer school is discussed.

Key words: Abbe Vogler; Mannheim symphonies; German opera; music treatises.

 

Irina Susidko. “Miloserdie Tita” Ch. W. Gluka (1752): v preddverii venskikh triumfov / Ch.W. Gluck’s La clemenza di Tito (1752): on the eve of Viennese triumphs

La clemenza di Tito, written in 1752 for Neapolitan theater San Carlo, was the latest opera by Christoph Willibald Gluck composed before his moving to Vienna. Some stylistic and compositional features of the opera is considered. It allows to establish the relation between Gluck’s Italian serious operas and the works of reformatory trend.

Key words: Gluck; Metastasio; Caffarelli; Italian opera seria.

 

Nina Pilipenko. Sud’ba operogo nasledija Franza Schuberta / A history of Schubert’s operas

Lifetime and posthumous history of Franz Schubert’s operas is unfortunate. He composed eleven complete theatrical works, and only three of them were staged. Still after Schubert’s death, his operas became the less popular part of his works. The author tells about their difficult way to the audience.

Key words: Franz Schubert; Austrian music theatre; opera; Singspiel.

 

Starinnaya muzyka № 2 (72) 2016

Marina Dolgushina. U istokov zhenskogo kompozitorskogo tvorchestva v Rossii / The first female composers in Russia

The article summarises information about the first female composers in the Russian history, namely princesses N.I. Kurakina, Z.A. Volkonskaya and L.A. Gorchakova. Scholarly knowledge about their life and work has been systematised, and the connection between their activities and traditions of the Russian enlightened dilettantism has been demonstrated. The archive and early printed sources have been used. 

Key words: N.I. Kurakina, Z.A. Volkonskaya, L.A. Gorchakova; Russian music; romance; female composers.

 

Yuri Bocharov. K voprosu o zhanrovykh naimenovaniyakh instrumentalnykh sochinenij XVII – pervoj poloviny XVIII veka / On genre names in instrumental music of the Baroque era

The article deals with features of genre names in instrumental music of the Baroque era. The author notes different values of modern and authentic names of main musical forms (such as "sonata", "symphony", "suite", "partita", etc.), and also pays attention to authentic names were not constantly connected with certain forms.

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

 

Larisa Pylaeva. O roli semantiki tonal’nostej v muzyke frantsuzskikh stsenicheskikh tantsev XVII – pervoj poloviny XVIII veka / To the role of semantics of tonality in music of French stage dance of the 17th – the first half of the 18th centuries

The article deals with expressive possibilities of modes and tonalities in the music of stage dances by French composers of 17th – the first half of the 18th centuries. Here is also emphasized the significant role of tonal semantics, which defines the tonic of the dance and has a strong influence upon the key sequence in the musical form. The author gives some original examples demonstrating the diversity of correlation of this aspects in the binary form. Tonal and harmonic processes in danses chantées by J.-B. Lully and his contemporaries are analysed with a glance of close links between music, theory of the affects, and rhetoric what was typical for Baroque era.

Key words: French music; Baroque; stage dance; semantics of tonality.

 

Antonina Lebedeva-Emelina. Malorossijskaya pljaska na pridwornom balu (k publikazii partitury “Na berezhku u stavka” O.A.Kozlowskogo) / Ukrainian dance at a royal ball (to the publication of the orchestral score “Na berezhku u stavka” by Józef Kozłowski)

Introductory article to the publication of Ukrainian dance song "Na berezhky u stavka” (“On the bank of a pond”) arranged for choir and orchestra by Józef Kozłowski 225 years ago for the famous Potemkin festival in St. Petersburg on April 28, 1791 on the occasion of capture of the Izmail fortress. The history of this composition, and also publications of its music and text is considered.

Key words: Kozłowski; prince Potyomkin; Ukrainian folk songs; hopak.

 

Starinnaya muzyka № 1 (71) 2016

Ekaterina Nazarova (Moscow). Venskij pridvornyj kapelmeister Johann Heinrich Schmelzer i ego istinnye zaslugi pered istoriej muzyki / Viennese Hofkapellmeister Johann Heinrich Schmelzer and his real contribution to the history of music

In extensive literature on Johann Heinrich Schmeltzer the main attention is paid to external vital circumstances while his creativity is considered quite superficially. As a result we have many doubtful statements such as creation of the ‘Austrian’ type of the baroque sonata; ‘aria’ as new form of instrumental music; influence of the Baroque suite on the church sonata etc.

Key words: Johann Heinrich Schmeltzer; Viennese Hofkappelle; Baroque; instrumental music; sonata; suite; Viennese ballet; aria; Tafelmusik.

 

Alexei Panov, Ivan Rosanoff (St Petersburg). Stroj hora nesoglasnyj: starinnye muzikanty o dushe muzyki / The discordance in choir’s harmony: Early musicians on the ‘soul of music’

What is the ‘soul’ in music? This question was often raised by many early musicians. The research of this problem undertaken in the study shows that during the period from the middle of the 17th century to the early 19th century there existed no mutual point of view in discussing this matter.

Key words: the soul of music; die Seele der Musik; mesure; tactus; movement.

 

Yulia Moskvina (Moscow). ‘Susanne un jour’ O. Lasso i Hoyoul’a: zhanrovye i tematicheskie peresecheniya / O. Lassus and B. Hoyoul’s compositions on ‘Susanne un jour’: genre and thematic connections

In the paper Flemish composer Balduin Hoyoul is described as a prominent figure of German Lassus’ school. The author finds the principles of parody technique in several Lassus and Guayul’s works composed on the basis of D. Lupi’s chanson ‘Susanne un jour’.

Key words: Orlando Lassus; Balduin Hoyoul; Didier Lupi; chanson; mass; magnificat; paraphrase technique; parody technique.

 

Anastasiia Syreishchikova (Moscow – Paris). Berlioz’s first concert tour in Russia and his unknown letter to A.N. Verstovsky

This paper presents a hitherto unknown letter from Hector Berlioz to Alexei Nikolaevich Verstovski, held in the in A.A. Bakhrushin State Central Theatre Museum in Moscow. This letter provides new information about the content of Berlioz’s Moscow concert in 1847 and clarifies the way he organized his first concert tour in Russia. The author describes and analyzes this letter and other related archival materials (Verstovski’s correspondence with Michał Wielhorski and Alexandre Gedeonov) and some materials from the Russian press of that time.

Key words: Hector Berlioz; Alexei Verstovski; correspondence; Moscow; 1847; Michał Wielhorski; Alexandre Gedeonov.

 

Starinnaya muzyka № 4 (70) 2015

Pavel Luzker (Moscow). Italianskaya komicheskaya opera i ejo mesto v zapadno-evropejskoj teatral’noj tradizii / Italian comic opera in West-European Theatre

Italian comic opera had a prominent position not only in musical culture of 17–18 centuries but in the framework of West-European theatre on the whole. The main point of the paper is the first attempt to outline an unified periodization and a logic of development for this tradition: from experiments in baroque tragicomedy (1630 – 1650s) to an early phase in Florence and privat Rome theaters (1657 – 1690s), the entry in public theater in the forms of intermezzi and dialectal commedia per musica (1700 – 1730s), the establishment of all-Italian genre of opera buffa with an active part taken by Carlo Goldoni (from 1748 to 1762) and finally an obtaining the recognition in whole Europe and brilliant apogee in the end of the 18th century.

Key words: Italian comic opera; opera buffa; West-European theatre; intermezzo; dialectal commedia per musica; Carlo Goldoni.

 

Lyudmila Sundukova, Nikolaj Tarasevich (Moscow). Pier de La Rue i ego vremya / Pierre de La Rue and his times

The paper tells about the life and creative activity of Pierre de La Rue (1452–1518). He was a contemporary of Josquin Des Prez, Heinrich Isaac, Alexander Agricola and other famous Renaissance composers. The author describes circumstances of La Rue service at the Habsburg-Burgundian court and in Spain. As it isn’t enough literature on La Rue in Russian the paper would close existing gaps. 

Key words: Pierre de La Rue; Habsburg-Burgundian court; Renaissance music.

 

Svetlana Soldatova (Moscow). Zagadochnye instrumenty J.S. Bacha / Mysterious instruments of J.S. Bach – violoncello piccolo i viola pomposa

The paper tells us about the confusing history of two instruments related to J.S. Bach – violoncello piccolo and viola pomposa. Based on studying the documents it reveals the myth about Bach inventing viola pomposa that appeared in the 19th century and can still be found in the Russian literature. The author points out the reasons of the confusion (false authentication) of the two instruments and analyzes the Bach cantatas where violoncello piccolo is used.

Key words: J.S. Bach; baroque cantata; musical instruments; violoncello piccolo; viola pomposa.

 

Antonina Lebedeva-Emelina (Moscow). Potyomkinskij bal: contekst i podtekst (k voprosu reconstruczii zeremonii) / Potemkin’s ball: context and subtext (reconstruction of the ceremony)

The author describes a famous festivity organized by Prince Grigory Potemkin in St Petersburg on April 28, 1791. Outstanding figures of the Russian culture – the sculptor F.I  Choubin, the poet G.R  Derzhavin, the composer O.A. Kozlowsky, and foreign choreographers Ch. Le Picq and G. Canziani took part in its preparation. On a ball, being the most important part of this festivity, polonaises with choir by O.A. Kozlowsky were performed for the first time. One of them was well-known Let the thunder of victory sound, served as non-official national anthem for a long time. Also the structure of the festivity and function of music is considered.

Key words: Prince Potemkin; Catherine the Great; Osip Kozlowsky; polonaise.


Elena Wjaskova (Moscow). Horaly Svyatomu Dukhu / Chorals to Holy Spirit

A review of the book Sebastian Bach: Chorals to Holy Spirit by Michael Saponov (Moscow Conservatory publishing, 2015).

Key words: J.S. Bach; organ music; choral; manuscript; Leipzig.

 

Starinnaya muzyka № 3 (69) 2015

Natalia Ostroumova (Moscow). Nachalo Gamburgskoj opery. “Adam i Eva” Joganna Taile / The beginnings of opera in Hamburg. Adam und Eva by Johann Theile (p. 1–7)

The paper describes the cultural life of Hamburg and history of the foundation and the early period of the Hamburg opera (so-called Oper am Gänsemarkt). Also it is told about Johann Theile’s singspiel “Adam und Eva, oder Der erschaffene, gefallene und auffgerichtete Mensch” (1678) as the first performance of Hamburg opera.

Keywords: Hamburg; opera; Johann Theile.

 

Alla Yankus (St. Petersburg). Analiz materiala fugi c-moll dlya klavira solo C.Ph.E. Bacha v “Traktate o fuge” F.W. Marpurga / The analysis of the material of C.Ph.E. Bach’s keyboard fugue c-moll in Abhandlung von der Fuge by F.W. Marpurg (p. 8–14)

This article analyzes a part of the Abhandlung von der Fuge by F.W. Marpurg dealing with a specific preliminary work on the fugue, namely the work on reducing and splitting of the theme and other material. The author of the Abhandlung suggests using these methods together with inversion transformation and imitation arrangements (including stretta). The shown work with the parts (elements) of the theme can be seen as a stylistic feature of the postbaroque fugue. In Marpurg's analysis of the material of c-moll fugue by C.Ph.E. Bach (Wq. 119/7; H. 75.5) a combination of cited and specially composed fragments can be found.

Key words: fugue theory; C.Ph.E.  Bach; fugue c-moll (Wq. 119/7; H. 75.5); F.W. Marpurg; Abhandlung von der Fuge; preliminary work on fugue.

 

Valery Berezin (Moscow). “Ya sravnil by ego s siyaniem solnechnogo lucha vo t’me…” Kornet i serpent v tractate Marena Mersenna “Vseobschaya garmoniya” / «Le son qu’il rend est semblable à l’esclat d’un rayon du soleil, qu’il paroist dans l’ombre…». Cornett and serpent in Marin Mersenne’s Harmonie universelle (p. 15)

Introductory article to the publication of fragments of the treatise “Harmonie universelle” (1636–37) by French scientist Maren Mersenn, for the first time translated into Russian by Prof. Valery Berezin.

Marin Mersenne. Fragmenty Pyatoj knigi Traktata ob instrumentah iz “Vseobschej garmonii” / Fragments of the Fifth book of the Treatise on musical instruments from Harmonie universelle (translated from the French, with comments, by Valery Berezin)  (p. 16–24)

The famous French scientist Marin Mersenne describes in his Harmonie universelle (1636–37) some features of musical instruments in the early baroque period. This publication is the first Russian translation of some fragments of the treatise dedicated to the family of cornetts and serpent. It is followed by introductory article and comments of Prof. V. Berezin.

Key words: Mersenne; musical treatise; cornett; serpent; early baroque period.

 

Galina Petrova (St. Petersburg). Neizvestnoe pis’mo Berlioza / The unknown letter of Berlioz (p. 25–27)

The author publishes the unknown letter of Berlioz to Ferdinand Friedland found in the Departement of manuscripts of the Russian Institute for the History of the Arts. The letter of Berlioz is written from Stuttgart because of the forthcoming first concert in his tour concert tour on the cities of Germany. The letter is dated by the author in order with the content.

Key words: Berlioz; concert tour; Stuttgart.

 

Yana Ferran (Moscow). Pervye rossijskie konservatorii i avtorskoe pravo kak factory stanovleniya kompositorskoy professii / The first Russian Conservatories and copyright as factors of becoming a composer's profession (p. 28–31)

The professional musical education in Russian conservatories in St. Petersburg and Moscow and the formation of copyright in musical works is discussed as the main factors for professional composers practice in Russia in the middle of the 19th century. The relationship between the status of ‘free artist’ and composing career are also determined. The paper presents also some texts on the Russian copyright law.

Key words: composer; profession; copyright; conservatory.

 

Starinnaya muzyka № 2 (68) 2015

Antonina Lebedeva-Emelina (Moscow). Osip Kozlovskij – belorus? (Novoe o kompozitore) / Osip Kozlovsky – Belarusian? (New about the composer) (p. 1–12)

The article is about Russian composer Jozef (Osip Antonovich) Kozlovsky (1757–1831), born in Poland (in the territory of modern Belarus). Kozlowski’s biography is presented in the context of the manor life of Polish noble families in Poland and Belarus. The critical test of the scholarly literature about the composer is made, basing on materials of the Russian, Belarusian and Polish researches.

Key words: Jozef Kozlovsky; Prоpojsk (Slavgorod); biography; creativity; Oginsky; Trutovsky; Potemkin; Stempkovsky; Rakitsky.

 

Alexandra Safonova (Moscow). “Opyt druzby” – “Ispytanie dlya druzby”: “moskovskij” Gtetri / “L’Amitié à l’épreuve” – Moscow version of Grétry’s opera (p. 13–20)

Results of researches of the remained materials of Moscow version of Grétry’s opéra-comique «L’Amitié à l’épreuve» are presented in this article. The opera with Russian text by Vassily Voroblevsky was staged in Sheremetev’s Kuskovo Palace theatre. It was the first execution of Grétry operas in Russian. In spite of the fact that the original Russian score is lost, the author describes features of Moscow version Grétry’s «L’Amitié à l’épreuve» used Russian libretto printed in 1779, musical materials of Moscow versions of several French operas of the same period, and other sources.

Key words: French opéra-comique; Grétry; «L’Amitié à l’épreuve»; Sheremetev’s Palace theatre.

 

Irina Susidko, Pavel Luzker (Moscow). Stsenicheskij oblik ital’anskoj opery v 18 veke / The stage design of Italian opera in the 18th century (p. 21–25)

Various authentic sources (printed libretti and manuscript scores, cartons of stages backdrop, treatises, letters) formed a basis for this article about the scenography of Italian Baroque opera. The article gives a description of various types of stage design that were established in Italian Baroque opera (in Giacomo Torelli, Filippo Juvarra and the artists of Galli Bibiena family works) as well as the coordination of static and dynamic components of stage area, the principles of mise-en-scène arrangement, the acting of singers during performance of aria or recitative.

Key words: Italian Baroque opera; stage design.

 

Saida Iskhakova (Ufa). Ob osobennostyakh razvitiya traditsii musica composita vo Frantsii i Italii 14 veka / The development of features of musica composita in France and Italy in the 14th century (p. 26–31)

The article discusses the problem of expansion of the “complicated music” tradition to the secular music in France and Italy during the 14th century. As a result such musical forms, as ballade, rondeau, madrigal and the others, which were available to the large audience before, have acquired many signs of musica composita tradition. This phenomenon has some common features with Art music in the 20th century.

Key words: musica composita; motet; ballade; rondeaux; madrigal; Ars nova; Ars subtilior; Johannes de Grocheio; Guillaume de Machaut. 

 

Starinnaya muzyka № 1 (67) 2015

Irina Shehovtsova (Moscow). Grecheskie tserkovno-pevcheskie rukopisi v Moskve v 17 veke / Greek church-singing manuscripts in Moscow in the 17th century (Part II; p. 1–9)

The article investigates the origin and existence of the Greek church-singing manuscripts in Russia in the 17th century. Important problems of Greek-Russian cultural relations are also considered. Sources for the study are the manuscript collections of State Historical Museum (SHM), the Russian State Library (RSL), and the Russian State Archive of Ancient Acts (RGADA). 19 notation Greek manuscripts come to Moscow in this period – mainly from Athos and Constantinople – were found.

Key words: Byzantine music; Greek singing books; Hierodeacon Meletios Greek; Archimandrite Dionysius’ Library.

 

Alla Korobova (Yekaterinburg).  Sbornik  Il Bon Bacio kak primer pretvoreniya dialogicheskogo printsipa v madrigale Chinkvechento  / Il Bon Bacio madrigal collection as an example of dialogue practice in the Cinquecento madrigal (p. 10–18)

The famous madrigal collection «Madrigali Pastorali. ... Intitolati IL BON BACIO » (Venice, 1594) is considered in the article. The main problem is a music implementation of dialogue principle in conditions of a polyphonic texture of madrigals. The subject (a talk of a shepherd and a nymph) and the principle of dialogue allow us to associate the Il bon bacio collection both with the ancient tradition of dialogic eclogue and contemporary pastoral drama, that fits into the genre attribution «Madrigali Pastorali».

Key words: madrigal; pastoral; dialogue; «Il bon bacio»; polyphonic composition.

 

Pavel Luzker (Moscow). Il mondo della luna K. Goldoni i B. Galuppi – novyj mir opery-buffa / Il mondo della luna by C. Goldoni and B. Galuppi – the New World of Opera buffa (p. 19–25)

Despite of its outstanding popularity in the 18th century this opera on Goldoni’s libretto is paid too little attention nowadays. Goldoni transforms an utterly stereotyped plot into a sharp enlightened satire showing an exhaustive flowering of his talent. The musical components of performance (the symphonic episodes, arias and ensembles, espesially the buffo finals, the comical idioms) show the final maturity of the genre. The appearance of Il mondo della luna can be regarded as a turning point in the history of Italian opera buffa.  

Key words: the age of Enlightenment; Italian opera buffa; Carlo Goldoni as librettist; Galuppi’s comic operas.

 

Nina Pilipenko (Moscow).  Franz Shubert i tsenzura v avstrijskom teatre kontsa 18 – nachala 19 veka / Franz Schubert and Censorship in Austrian theatre in the late 18th and early 19th centuries (p. 26–31).

The author gives documentary information about introduction of censorship in the Austrian theatre and its influence on the Vienna opera in the early of 19th century, including on Schubert’s works.

Key words: Censorship; Austrian theatre; Viennese Opera; Singspiel; Franz Schubert.
 

Starinnaya muzyka № 1 (63) 2014

Maria Dolgushina (Vologda). O nekotorykh muzykal’nykh kontaktakh Vassiliya L’vovicha Pushkina / On some musical contacts of Vassily Lvovich Pushkin (p. 1–4)

The article is telling about V.L. Pushkin’s opinions on musical theatre, amateur productions and Moscow’s concert life of the first quarter of the 19th century as well as giving information on some musicians whom the poet had happened to know. V.L. Pushkin’s correspondence with P.A. Vyazemsky where they are discussing music is enjoying research presentation for the first time.

Key words: Russian musical culture of the first quarter of 19th century; Moscow theatrical and concert practice; V.L. Pushkin; P.A. Vyazemsky; I.I. Reinhard.

 

Elena Trubenok (Moscow). Kompozitsii Te Deum na cantus prius factus: k formirovaniju zhanrovoj modeli / Te Deum compositions on cantus prius factus: on the formation of structural model (p. 5–10)

One of the two main patterns of Te Deum hymn – composition on cantus prius factus – is the centre of the article. Two types of Te Deum’s polyphonic arrangements of the 16th century – continious and alternatim compositions – are described as well as their influence on later arrangements of the hymn. The examples of continious compositions belonging to different hystorical periods are analyzed; they are two German Te Deums on cantus prius factus: the one by B. Resinarius (1544) and the other by F. Lizst (1853).

Key words: Te Deum; Gregorian chant; cantus prius factus; alternatim; B. Resinarius; F. Lizst.

 

Dmitry Goldobin (Cannes, France). Lyutnevaja canzona v Italii, 1593–1640 / Canzona for luth in Italy, 15931640 (p. 11–22)

The author addresses a rare type of canzona giving different meanings of the word “canzone” in connection with lute repertoire of the late of the 16th – first half of the 17th century. The most important sources, both printed and handwritten, that carry Italian canzonas for lute, archilute and theorbo (chitarrone) are mentioned. Examples of ensemble canzonas intabulation for lute are being analyzed as well as original works for lute by some Italian composers (G.A. Terzi, A. Piccinini, G. Capsperger, P. Melia, B. Castaldi, F. Mascera).

Key words: canzona; lute music; Italian Renaissance and early Baroque music; G.A. Terzi; G. Kapsberger; A. Piccinini.

 

Eugeny Pinchukov (Yekaterinburg). Tayna “tserkovnoy kadenzii” / The Mystery of “Church Cadence” (p. 23–30).

There is an opinion that “church candence” is just one more name for plagal cadence referring to IV–I or iv–i; the author argues that such interpretation doesn’t take into consideration the circumstances of its appearance and initial meaning. Theoretical sources starting from G. Weber’s (1779–1839) works are pointing at special ‘church’ status of the so-called phrygian cadence and also iv–I cadence being very near to it in its structure, function and expressivity. Just iv–I cadence being a plagal analogue of the Phrygian cadence is attributed in the article as “church”.

Key words: church cadence; plagal cadence; authentical cadence; Phrygian cadence; music theory.

 

Starinnaya muzyka № 2 (64) 2014

Sufiya Muratalieva (Moscow). К 300-letiyu К.F.E. Baha i K.V. Glyuka / Towards 300th Anniversary of K.Ph.E. Bach and Ch.W. Gluck (p. 1–5)

This article is a review of reports delivered at the conference “Towards 300th Anniversary of K.Ph.E. Bach and Ch.W.Gluck”. The conference was hosted by Moscow Tchaikovsky Conservartory 19–21 March 2014.

Key words: K.Ph.E. Bach; Ch.W. Gluck; Moscow Conservatory; 18th century music.

 

Pavel Lutzker (Moscow). “Opekun Trespolo” A. Stradelly: u istokov italyanskoj muzykal’noj komedii / “Il Trespolo tutore” by A. Stradella: at the sources of Italian musical comedy (p. 6–12)

A. Stradella’s comic opera “Il Trespolo tutore” has been treated as the first opera buffa for a considerable time. At present such judgement can’t be accepted without reservations. Nevertheless some important and mature features of comic style are already visible in this opera. Those are the signs of late 17th century musical comedy typical for Florence (J. Melani) and Rome (B. Pasquini and A. Stradella).

Key words: A. Stradella; Italian opera; musical comedy of the 17th century; G.C. Villifranchi; Falcone theatre.

 

Irina Susidko (Moscow). “Triumf Klelii” K.V. Glyuka: opera-seria v ryadu reformatorskikh dram / “Il triofo di Clelia” by Ch.W. Gluck: opera seria among his reformist operas (p. 13–16)

A little known opera by Christoph Willibald Gluck “Il triofo di Clelia” was staged in Bologna in 1763. This opera carries lots of musical beauties and the intrigue of it is centered around the fact that it’s written in the style of Italian opera seria although those were the years of active Gluck’s reform of 1760-s. The author points to the features that are typical for the traditional opera seria, but at the same time attracts attention to those that make this opera a relative of Gluck’s musical dramas (the intensity of thematic development, richly elaborated orchestra, etc.). The circumstances of the opera’s creation and staging, rendered by Carl Dittersdorf who was Gluck’s companion during his stay in Bologna, are also described.

Key words: Ch.W. Gluck; C. Dittersdorf; opera reform; Italian opera of the 18th century; “Il triofo di Clelia”.

 

Nina Pilipenko (Moscow). Teatr An der Vin v pervoj treri 18 veka: osobennosti funktsionirovaniya i muzykal’nyj repertuar / Theatre An der Wien from 1800-s to 1830-s: principles of functioning and musical repertoire (p. 17–21)

A short review of the first decades of An der Wien theatre’s work in Vienna is presented. The focus of the review is the theatre’s repertoire based on spectacular opera performances. Its major part is totally unknown to present day audience.

Key words: An der Wien; opera; E. Schikaneder; Vienna’s musical culture.

 

Valery Berezin (Moscow). Kak trubachi nachinali ispolnyat’ Baha (opyt malen’koj lekzii) / How trumpeters started to perform Bach (a small lecture) (p. 22–31).

After the Baroque era when the trumpet was treated as the instrument with special brilliance, virtuosity and splendour, the art of playing the trumpet was almost completely forgotten. In the 19th century one could hardly find a single trumpeter who was able to play baroque music. Since 1870-s and during the 20th century some outstanding musicians devoted themselves to the revival of baroque style of playing the trumpet to be able to play Bach, Handel and their contemporaries in an authentic way.

Key words: Bach; Handel; natural and chromatic trumpets; trumpet piccolo; clarino.

 

Starinnaya muzyka № 3 (65) 2014
 

Elena Smagina (Volgograd). Dmitrij Alekseevich Shelekhov I ego opera «Zhenev’eva Brabantskaya» / Dmitry A. Shelekhov and his opera Genoveva von Brabant (p. 1–7)

The article is telling about a forgotten Russian composer D.A. Shelekhov (1801?–1838) and his works. The most famous of Shelekhov’s operas is Genoveva von Brabant (libretto by A. Schoeller, 1830). Some features of the opera contents and its dramatic composition and style are considered. The author establishes connections between Genoveva von Brabant and German romantic operas and French Opéra à sauvetage.

Key words: Russian opera; D.A. Shelekhov; German romantic opera; French Opéra à sauvetage.

 

Elena Pankina (Novosibirsk). «Frottola d’incatenatura» Erazmusa Lapitsidy / Erasmus Lapicida’s frottola d’incatenatura (p. 8–14)

The article is dedicated to the single composition of a little-known German musician Erasmus Lapicida being made in the genre of Italian polyphonic song, so-called frottola. There is biographical data about Lapicida, appraisal of his activity being given by contemporaries, there are textual, composition and musical and stylistical peculiarities of his quotation frottola «La pietà ha chiusa le porte / Pietà, cara signora» based upon two songs of major frottola composers – Bartolomeo Tromboncino and Marco Cara, and it is therefore one of rare models of frottola-quodlibet combining the characteristics of villota d'incatenatura and incatenatura da villota (F. Torrefranca).

Key words: E. Lapicida; frottola; quodlibet; B. Tromboncino; M. Cara.

 

Valery Berezin (Moscow). Malen’kij traktat Valentina Roesera dlya kompozitorov XVIII veka / A Short treatise by Valentin Roeser for composers of the 18th century (p. 15–16)

Introductory article to the first publication in Russian of Valentin Roeser’s short treatise “Essai d’instruction. A l’usage de ceux qui composent pour la clarinette et le cor” (Paris, 1764).

Valentin. Roeser. Essai d’instruction. A l’usage de ceux qui composent pour la clarinette et le cor (p. 17–27)

Valentin Roeser’s short treatise “Essai d’instruction. A l’usage de ceux qui composent pour la clarinette et le cor. Avec des remarques sur l’Harmonie et des exemples à deux clarinettes, deux cors et deux bassons” (1764) is the unique work in music history describing features and usage of musical instruments in the post-baroque and early classical period. This publication is the first Russian translation of the treatise with introduction and necessary commentaries by Valery Berezin.

Key words: clarinet; horn; musique d’harmonie; A. Roeser; music of early classical period.

 

Olga Zhestkova (Kazan). Haute-contre v Parizhskoj Opere i golos Adolpha Nourrit / Haute-contre in Paris Opéra and Adolphe Nourrit’s voice (p. 28–33)

The author considers haute-contre voice type which was cultivated in French baroque opera. It turns out that this voice type did not disappear from French stage in the late 18 century, as it is said in foreign encyclopedias. In particular, the contemporaries classified Adolphe Nourrit’s voice precisely as haute-contre. This voice is vocally based on sonorous, delicate, flexible and natural singing, artistic use of improvisation coloratura and the employment of falsetto in the high pitch of the range.  

Key words: haute-contre; tenor; voice type; falsetto; head voice; Adolphe Nourrit; French opera.

 

Valery Berezin (Moscow). Kadentsiya solista / Solo cadenza (p. 34–35)

This is a review of the new Alexander Merkulov’s book The Solo Cadenza in the Baroque and Viennese Classical Music (Moscow, 2014)

Key words: solo cadenza; concerto; aria; Baroque music; Classical music.

 

Starinnaya muzyka № 4 (66) 2014
 

Yury Bocharov (Moscow). Ramo v Moskve / Rameau in Moscow (p. 1–3)

The new performance “Rameau, Maître à Danser” consisting of one-act ballets “Daphnis and Églé” and “La Naissance d’Osiris” was presented by the French ensemble of “Les Arts Florissants” at 6th and 7th of November, 2014 on the New scene of the Bolshoi theater in Moscow.

Key words: J.-Ph. Rameau; ballet; French baroque music; "Les Arts Florissants"; Bolshoi theater.

 

Natalia Storchak (Moscow). Mnogolikost’ lada v traktate Marketto Paduanskogo Lucidarium in arte musice plane / Multiformity of Mode in the Lucidarium in arte musice plane of Marchetto of Padua (p. 4–8)

The subject of the article is the classification of modes of the Gregorian chants by their ambitus offered in the Lucidarium by Marchetto of Padua. His modal theory had a great influence on development of the musical theory after 14th century, but it didn't receive detailed consideration in the Russian musicological literature.

Key words: Marchetto of Padua; music theory; Gregorian modes; musica plana.

 

Irina Shehovtsova (Moscow). Grecheskie tserkovno-pevcheskie rukopisi v Moskve v 17 veke / Greek church-singing manuscripts in Moscow in the 17th century (p. 9–22)

The article investigates the origin and existence of the Greek church-singing manuscripts in Russia in the 17th century. Important problems of Greek-Russian cultural relations are also considered. Sources for the study are the manuscript collections of State Historical Museum (SHM), the Russian State Library (RSL), and the Russian State Archive of Ancient Acts (RGADA). 19 notation Greek manuscripts come to Moscow in this period – mainly from Athos and Constantinople – were found.

Key words: Byzantine music; Greek singing books; Hierodeacon Meletios Greek; Archimandrite Dionysius’ Library.

 

Galina Petrova (St. Petersburg). Zabytoe pis’mo: H. Berlioz – A.F. Lvovu (k istorii pervogo visita Hectora Berlioza v Rossiju) / The forgotten letter: H. Berlioz to A. Lvov (About circumstances of the first visit of Berlioz to Russia) (p. 23–26)

The autograph of the letter of G. Berlioz to A.F. Lvov (1 August, 1845) and its translation into Russian is published in the article. This letter is the unknown episode of correspondence of two musicians allowing to correct sequence of the facts and events concerning the first tour of Berlioz to Russia. The published document is analyzed in context of the history of dedication of “Symphonie fantastique” to the Russian emperor Nicholas I.

Key words: H. Berlioz; A.F. Lvov; Nicholas I; “Symphonie fantastique”; autograph; performance tour, French-Russian musical connections.

 

Valery Berezin (Moscow). “Po prichine proizvodimogo imi bol’shogo shuma…”. Semejstva goboev i fagotov v tractate Marena Mersenna “Vseobschaya Garmoniya / “A raison du grand bruit qu’ls font...”. Families of oboes and bassoons in Marin Mersenne’s “Harmonie universelle” (p. 27–28)

Introductory article to the publication of fragments of the treatise “Harmonie universelle” (1636–37) by French scientist Maren Mersenn, for the first time translated into Russian by Valery Berezin.

Marin Mersenne. Fragments of the Fifth book of the Treatise on musical instruments from “Harmonie universelle” (translation and comments by Valery Berezin) (p. 29–35)

The famous French scientist Marin Mersenne describes in “Harmonie universelle” (1636–37), among other things, features and use of musical instruments during the early baroque period. This publication is the first Russian translation of some fragments of the treatise dedicated to the families of oboes and bassoons. It is followed by introductory article and comments by Valery Berezin.

Key words: Mersenn; musical treatises; family of oboes; family of bassoons; early baroque period.

 

Starinnaya muzyka № 1 (59) 2013

Tatiana Vikhoreva (Volgograd). “Ekteniya” Glinki. Pochemu “pervaya?” / “Litany” by Glinka. Why it is “The First”? (p. 2–7)

Correlation of the musical text of Glinka’s ‘Litany’ and information from the stories of liturgy promotes understanding why this musical composition has non-traditional name “The First”. Finding out the reasons for the unusual name allows us to consider that political views of the composer are reflected in the ‘Litany’ by Glinka.

Key words: Russian music; Mikhail Glinka; sacred music; litany.

 

Pavel Luzker (Moscow). Ot “Pamely” k “Dobroj dochke”, ili O tom, kak geroinya modnogo romana popala na opernuju szenu / From Pamela to La Buona figliuola or How a Heroine of Fashionable Novel found herself on the Opera Stage (p. 8–15)

The article is dedicated to treatment of conversion of celebrated epistolary novel by Samuel Richardson first into dramatic play by Carlo Goldoni and than in the comic opera Cecchina ossia La Buona figliuola on his libretto. The author shows how the new sentimentalistic conception of sensitivity changes dramatically the plot and the music composition of the opera genre.

Key words: Samuel Richardson; Carlo Goldoni; Niccolò Piccinni; the 18th century Italian opera; sentimentalism; La buona figliuola.

 

Vasilisa Zharkova (Moscow). Mozartovskie pevtsy: portrety v kontsertnych ariyah / Mozart’s singers: portraits in concert arias (p. 16–24)

This article is devoted to some singers with whom the composer worked and for which created concert arias. On the basis of these compositions and features of their vocal parts the author attempt to recreate professional portraits of the singers including Nancy Storace, Anton Raaf, Luidwig Fischer and Aloysia Weber.

Key words: Mozart’s singers; concert aria; opera scene.

 

Tatiana Shchepatova (Moscow). Nepreodolennoe vliyanie: tema iz bethovenskoj uvertyury “Tvoreniya Prometeya” v I chasti Simfonii № 2 Franza Schuberta / The Unsurmounted Influence: the Theme from Beethoven’s “The Creatures of Prometheus” in the 1st Movement of Symphony № 2 by F. Schubert (p. 25–31)

Symphonies by Franz Schubert contain allusions to the works of others composers. For example the theme from Beethoven’s “Creatures of Prometheus” sounds in the 1st movement of Symphony № 2. Relations between the two authors, which are realized through “relations” between the two works, are the subject of this article. The constructivist methodology developed by American literary critic H. Bloom helps to open a new view on “secrets” of the creative process in music.

Key words: symphony, Beethoven; Schubert; H. Bloom; constructivist methodology.


Starinnaya muzyka № 2 (60) 2013

Irina Susidko (Moscow). Problema sinteza iskusstv v starinnoj opere: istoriya i sovremennost’ / The Italian opera in the 17th– 18th centuries: the question of synthesis of the arts (p. 2–6)

The article deals with the correlation between drama, poetry, music and stage design in early opera. There is examined a development in realization of this correlation both in theory and in practice over a period from early 17th century until the end of the 18th century. Some words are dedicated to the question of synthesis of the arts in the modern performances of early operas.

Key words: synthesis of the arts; the Italian opera of the 17th and the 18th centuries; modern performances of early operas.

 

Boris Borodin (Yekaterinburg). Na kakom muzykal’nom instrumente igral Apollon? / What musical instrument did Apollo play? (p. 7–11)

A musical instrument which god Apollo played, is called differently in Ancient Greek mythology and epic poems. The author of the article considers it as a result of some contextual features.

Key words: Apollo; Ancient Greek mythology; lyre; kithara; phorminx.

 

Pavel Luzker (Moscow). “Tancha” J. Melani i D.A. Monilii: pervyj florentijskij opyt komicheskoj opery / “Tancia” by Jacopo Melani and Giovanni Andrea Moniglia: the first attempt of comic opera in Florence (p. 12–21)

“Tancia” stand out, with its particular maturity of dramatic and music concept, against the whole attempts to create a comic opera in the 17th century. Multiple genre sources – such as commedia erudita, manneristic tragicomedy, commedia dell’arte, comic scenes from dramma per musica – are in it rather distinguishable yet, but fused into harmonious unity. The music numbers come up to the level of ripe autonomy and inner structural completeness.

Key words: Italian opera of the 17th century; early music comedy; genre sources of comic opera; Jacopo Melani; Giovanni Andrea Moniglia.

 

Dana Nagina (Moscow). Konzertnyje arii W.A. Mozarta: osobennosti zhanra / The Concerto arias by Mozart: the features of the genre (p. 22–25)

This paper describes Mozart’s concerto arias. This genre is little-studied, but very significant in the theatrical and concert practice of the second half of the 18th century. The author examines the questions of an existing of the genre, identifies its main types according to the conditions of the performance: 1) the arias for the varied concerts (it. accademia, germ. die Akademie); 2) the inserted and additional numbers for the own and other's works, which were sung in the operatic performance and 3) engagement-arias. The main features of the concerto arias are examined in the concerto arias in comparison with the opera arias. There are the dramaturgical independence, the concerto style that consist in the virtuosic vocal part, oriented to the manner of the singing and the skill of the performer, use of solo instruments and large-scale music forms.

Key words: Mozart; concerto aria; concert style; opera.

 

Nina Pilipenko (Moscow). Franz Schubert i teatr u Karintijskikh vorot / Franz Schubert and the Kärntnertortheater (p. 26–30)

This article considers problems of connections between Franz Schubert and the court opera of Vienna. During his lifetime Schubert tried to win this opera house as composer of operas and conductor, for the career in Kärntnertortheater might pave him the way for success and for so required material welfare. But he was got more fails than successes on this way.

Key words: Franz Schubert; Kärntnertortheater; German opera.


Starinnaya muzyka № 3 (61) 2013

Dina Kirnarskaya (Moscow). Sekrety populyarnosti Antonio Vivaldi / The Secrets of popularity of Antonio Vivaldi (p. 2–9)

The author argues that Antonio Vivaldi had invented the everlasting methods of musical attraction making his works pleasing and exciting to any audience. His music is connected to everyday music making; it is full of energy and virtuosity; his themes are full of rhythmically clear phrases, and his slow melodies are vocally appealing as opera arias. All popular composers of the future couldn’t avoid the principles first presented by Antonio Vivaldi.

Key words: Vivaldi; Venice; Baroque music; solo concerto; popular music.


Larisa Pylaeva (Perm). K voprosu o sootnoshenii i vzaimodejstvii frantsuzskikh i nemetskikh traditsyi v ritorike muzyki barokko / How French and German rhetorical traditions interact in Baroque music (p. 10–14)

The question of thematic structure in music is discussed in connection with the relations between musical and rhetorical syntax. The author argues that, more specifically, French and German traditions in theory of music had also experienced deep influence of one another on the basis of German tendency to rely on the expression of ideas in prose as opposed to French tendency to prefer their poetical rendition. The author looks at the process of transformation from rhetorical to purely musical understanding of thematic presentation and development giving attention to the meaning and contents of the main terms and concepts that music has inherited from rhetoric.

Key words: Baroque music; rhetoric and music; music theory; musical period; rhetorical period; French and German musical and rhetorical traditions.

 

Irina Susidko (Moscow). Elementi teorico-pratici di musica Francesco Galeazzi v kontekste evropejskoj teorii muzyki / Francesco Galeazzi’s Elementi teorico-pratici di musica in the context of European theory of music (p. 15–18)

The Italian music theorist and teacher Franceso Galeazzi (1758–1819) has published a treatise Elementi teorico-pratici di musica con un saggio sopra l’arte di suonare il violino published in Rome in 1791 (part 1) and 1796 (part 2). The most important ideas of the treatise refer to the structure of sonata form: Galeazzi turns to be the first to shed light on its thematic organization as well as to express some other original views.

Key words: Galeazzi; musical tractates; theory of Sonata form.

 

Vlada Melyushchuk (Moscow). Buben I ego rol’ v professional’nom muzykal’nom iskusstve Drevnego Egipta / The tambourine and its role in professional art of music in Ancient Egypt (p. 19–25)

This paper is an analytical description of lots of artefacts connected to tambourines and their role in Ancient Egypt’s musical culture. As a result of this analysis the classification of tambourines appears; the fact of highly developed virtuosity and skills of ancient instrumentalists is proved; and also special musical terms connected to the instrument’s build, performance practices and types of music are presented together with the information on professional performers and the diversity of ensembles where tambourines participated. Sacred meaning and functions of tambourines in Egyptian culture are being discussed.

Key words: Ancient Egypt’s musical culture; tambourine; artifacts; techniques of performance; musical terminology; musical genres; sacral destination and functions.

 

Yuri Bocharov (Moscow). Ob organnom iskusstve Frantsii i ne tol’ko / On the art of organ playing in France and not only that (p. 26–30)

This is a review of the new Marina Cheburkina’s book “The Organ art in France of the Baroque era: music, building, performance”. Having noticed various positive aspects of the book the reviewer attracts the reader’s attention to basic weaknesses of it both in methodology, analysis and linguistics, and also to non-objectivity of M. Cheburkina’s speculations on the French art of the 17–18th centuries being the outcome of her arbitrary interpretation of historical sources.

Key words: Baroque music, French classical organ, organ building; performance practice.

 

Starinnaya muzyka № 4 (62) 2013

Galina Petrova (St. Petersburg). Pridvornyj orkestr v Peterburge v pervom desyatiletii 19 veka / Court orchestra in St. Petersburg in the first decade of the 19th century (p. 2–5)

According to archive materials published in this paper the typical structure of Russian court orchestra had changed dramatically in the first decade of the 19th century. Having been founded as “chamber music” and “ball music” ensemble court orchestra by 1809 turned from the needs of Emperor’s entertainment to theatrical entertainment for general public, i.e. opera. Not only the functions of the Court orchestra but its structure as well had been transformed into several orchestra sections, and each of those was appointed to a particular opera company.

Key words: Russian court orchestra; orchestra staff; opera companies in St. Petersburg in the 1800s.

 

Olesya Yanchenko (Moscow). Uspeshny tserkovny kompositor Andreas Hammerschmidt / Andreas Hammerschmidt, a successful church composer (p. 6–10)

A brief review of Andreas Hammerschmidt’s works is presented with special emphasis on his spiritual dialogues. Basic features and the essence of this genre are being discussed. Biographical survey of the composer shows his enormous popularity both among the congregation and city administration, and also his high authority among the most outstanding musicians of the 17th century.

Key words: A. Hammerschmidt; German church music; geistlicher Dialog; early musical editions.

 

Yury Bocharov (Moscow). Barochnaya suita: znakomaya i neznakomaya / The Baroque suite: familiar and unfamiliar (p. 11–18)

The author argues that the traditional idea of the baroque suite as consisting of four parts: “allemande – courante – sarabande – gigue” is not in accordance with musical practicalities of the time. He also shows that baroque suite was not really a unit. On the contrary, it didn’t require to be performed as a whole being a succession of separate pieces of contrasting genres in one key.

Key words: Baroque music; suite; baroque dances; sonata; overture.

 

Irina Shehovtsova (Moscow). Grecheskie musykal’nye rukopisi v Moskve (iz fondov RGADA) / Greek musical manuscripts in Moscow (from RGADA collections) (p. 19–30)

The author has discovered 6 Greek musical manuscripts in the collection of Russian state archive of ancient acts (RGADA). They are: the excerpt from New Testament-aprakos with equophonetic musical symbols for liturgical reading, 4 notated collections of sticherons of the 13th and 17th century and Pyotr Lampadarius’ irmologion from the beginning of the 19th century. The description of these manuscripts focusing on their origin as well as singing practice, research history and notation features is presented. Some historical issues, such as Greek and Russian cultural ties, building collections of Greek musical manuscripts and the emergence of Bysantine music studies in Russia are discussed in connection with research results.

Key words: Moscow archives; musical manuscripts; musical Byzantinology; Greek and Russian cultural ties.