Current issue

№ 3 (93) 2021


Yuri Bocharov (Doctor habilitatus in Arts studies; Leading Researcher of Moscow conservatory). K probleme zhanrovoj tipologii instumental'noj muzyki epokhi Vozrozhdeniya / On the problem of genre typology of instrumental music of the Renaissance (pp. 1–8)

The article examines the specificity of European instrumental music of the Renaissance and various approaches to its genre typology. The author offers a variant of the typology, which provides for the formation of two large genre groups, formed on the one hand, by a variety of dance genres that had similar prototypes in the everyday environment, and on the other hand, genres without such prototypes that arose in the conditions of professional musical practice (ricerсarе, fantasy, canzone da sonar, toccata, praeambula, organ verset, etc.). However, this typology primarily refers to the music of the Late Renaissance, when the originality of musical instrumentalism was already fully realized, and the understanding of the genre itself was quite high. As a result, the author comes to the conclusion that a fairly clear and definite systematization of instrumental music of the Renaissance as a whole at the stage of the genre typology itself encounters significant problems that do not allow it to be carried out in such a form in order to cover the maximum number of genres and be absolutely logical and as consistent as possible.

Keywords: instrumental music; genre typology; Renaissance; dance genres; intabulation; functional and absolute music.


Tatiana Tsvetkovskaya (Musicologist; Head of special projects, Orpheus Radio, Moscow). Smyslovye kollizii tserkovnoj pesni Lutera “Ein feste Burg ist unser Gott” v muzyke J. S. Bakha / Semantic collisions of “Ein feste Burg ist unser Gott” in J. S. Bach’s music (pp. 9–16)

The article focuses on the search for new approaches to revealing the content of the church compositions of J. S. Bach, which are based on Luther's song "Ein feste Burg ist unser Gott". The choral prelude of the same name in D-major (BWV 720) and two cantatas – “Alles, was von Gott geboren” (BWV 80а) and “Ein feste Burg ist unser Gott” (BWV 80) were selected for analysis. The study of Bach's works through the prism of the original song reveals the contradictions in their understanding. The renewal of liturgical practice over time, the shift of semantic accents in the theological interpretation of the poetic text lead to the fact that an interpretation based on a different, in comparison with the modern, concept of the nature of church songs is perceived as outdated, which, in fact, is incorrect. Moreover, each appeal of Bach to the text "Ein feste Burg ist unser Gott" is the next, higher step in comprehending its meaning. The composer's "musical commentary" reveals the deep layers of content, forcing him to return to the original text of Luther, but from new positions. Theological and musical hermeneutics (Robert Leaver's term) allows us to close the chain, the starting point and ending point of which becomes the theme “Ein feste Burg ist unser Gott”, as a kind of leitmotif of Bach's creative biography. In addition to the scores of Bach's church compositions, the author of the article proposes to include in the hermeneutic circle documentary evidence of their occurrence, analytical materials on the composer's works, biblical excerpts and fragments of Luther's works.

Keywords: Bach; Luther; hermeneutics; church song; choral prelude; church cantata.


Anastasiya Tabankova (Associate Professor; Department of Woodwind Instruments, Moscow conservatory). Goboj v shkolakh i traktatakh pervoj poloviny 19 veka / Oboe in instructions and treatises of the first half of the 19th century (pp. 17–24)

The article examines the technical and artistic features of the oboe, described in French musical treatises of the first half of the 19th century. It was during this period that the leading position was acquired by the French performing school associated with the activities of the Paris Conservatory. And the oboe itself is undergoing an intensive evolution, thanks to which the playing technique has been significantly improved and the expressive possibilities of the instrument have expanded. At the same time, there were various oboe models that had significant differences. This is reflected in educational manuals, musical dictionaries and treatises for performers and composers, such as Traite general des voix et des instruments by A. Shoron, Cours de composition musicale by A. Reicha, Dictionnaire de musique moderne by F. H. J. Castil-Blaze, Traité général d’instrumentation by J. G. Kastner, Grand traité d’instrumentation by H. Berlioz etc.

Keywords: oboe; corno inglese; orchestra; performing schools and treatises; French music of the 19th century.


Svetlana Petukhova (PhD; Department of Music History, State Institute for Art Studies, Moscow). Modest Dmitrievich Rezvoy – teoretik i praktik muzykal’nogo iskusstva / Modest Dmitrievich Rezvoy as music theorist and practitioner (pp. 25–35)

The article focuses on Modest Dmitrievich Rezvoy (1807–1853) as a significant creative figure. The author draws attention to the fact that M. D. Rezvoy, like other representatives of his family, had a tendency to combine a variety of activities, introducing a spirit of novelty and discovery into each of them. As a hereditary military engineer, he became widely known as a portrait painter, amateur musician (cellist and composer), but above all as a music theorist and lexicographer, who for the first time in Russia systematized musical-theoretical concepts and introduced a number of important terms into Russian musicology. The Appendix contains a list of Rezvoy's numerous articles on music published during his lifetime in dictionaries and periodicals.

Keywords: M. D. Rezvoy; lexicography; musical terminology; art.