Abstracts

Starinnaya muzyka № 2 (104) 2024

Veronika Grigorieva. Obrazovanie melodicheskikh formul v opekalovskikh “nadgrobnykh” pesnopeniyakh: muzykal’no-lingvisticheskie paralleli / The Formation of Melodic Formulas in Opekalovsky “Funeral” Chants: Musical and Linguistic Parallels

The Opekalovsky “funeral” Trisagion and the sticheron “Come, let us please Joseph” belong to the style of large chant. Their melodic fabric consists of formulas, the main part of which is divided into strata: families, groups and series of groups. In each of the stratas, the formation of formulas occurs according to 2 types: segmental—by adding a new link to the generating formula or by alternating links, and non-segmental—by modifying its core, some link or links.

Keywords: Opekalovsky chant; derivation of melodic formulas; segmental type; non-segmental type; modification; core; links.

 

Irina Gerasimova. Kategoriya stariny v russkikh tserkovno-pevcheskikh rukopisyakh posledney treti 17 — nachala 18 veka / The Category of Antiquity in Russian Church Singing Manuscripts of the Last Third of the 17^th—early 18^th Centuries

The article examines the category of antiquity in the Russian church singing tradition of the last third of the 17^th — early 18^th century. At this time, chants with remarks pointing to the “old” began to be revealed in singing manuscripts. On the one hand, there were chants before Patriarch Nikon’s liturgical reform, which contained uncorrected texts and chants, were called “old”. On the other hand, there were remarks localizing “old” melodies within states. Examination of the history of chants with remarks of the second type showed that such a reference informed the singer about the area where the chant was cultivated (“Old Polish”, “Belorussian ancient singing”), appealed to the origins of the Kyiv chant—the parallel developed version of the znamenny chant (“Old Russian”). In only one case does the title of the chant correspond to its stylistic content and origin (“Old Greek”).

Keywords: category of antiquity; church singing art; Russian singing church books; Irmologion; Obikhod; znamenny notation; Kazan’ notation.

 

Alesya Tekucheva. Triol’nye arii v kantatakh BWV 167 i BWV 147: ob interpretatsii shtrikhov v partiyakh strunnykh instrumentov / Triplet Arias in Cantatas BWV 167 and BWV 147: On the Interpretation of Bowing in the String Parts

The publication addresses the practical question of how string articulations are to be played in some movements of Bach’s cantatas (that are part of the first Leipzig annual cycle) built on triples. The surviving manuscript sources do not always provide a clear understanding of how the musical text recorded in them should be performed, and musical ensembles offer the listener many interpretations, not all of which are convincing.

The manuscript parts of the tenor aria that opens the cantata BWV 167 contain many variations of bowing that, in their randomness, are unlikely to have been intended by the composer. The autograph score has not survived, the parts having been produced by scribes. The editors of the both J. S. Bach complete editions resolve the issue of unification which is so necessary for ensemble playing in favor of uniting all the sounds of the triple with bind, but this variant does not look convincing. The rhythmic pattern quarter-eighth in middle string parts and vocal part as well as the flight-dance character of the music and the performing techniques necessary for its implementation speak in favor of combining the first two sounds of the triplet in the violin melody with the bind.

The same is true of the cantata BWV 147, performed in the same period and extant in autograph: the phrasing of the melody itself speaks in favor of separating the third sound from the two preceding ones. The similarity of the effect represented in the discussed movements and its similarity to the final movements of some concertos of the Köthen period, recorded in extremely neat handwriting, indirectly confirm our choice. A comparison of the interpretations of the leading performing ensembles shows that the articulation proposed by the author of this article sounds the most natural.

Keywords: J. S. Bach; cantata BWV 167; cantata BWV 147; manuscript; autograph score; bowing; articulation; bind; stringed instruments; interpretation

 

Starinnaya muzyka № 1 (103) 2024

Anastasia Khlyupina (PhD student and lecturer of Moscow Conservatory). André Cardinal Destouches – musketeer and  Surintendant de la musique du Roi.

The article is the first essay in Russian about the life and work of André Cardinal Destouches (1672–1749). He was a very influential figure in French musical culture in the first half of the 18th century. The author studies the phenomenon of the popularity of Destouches’ operas and ballets, which were regularly revised throughout the century. It allows us to reject the widespread opinion about the decline of French opera in the work of Lully’s followers. Meanwhile, the perception of Detouches’ work has changed significantly: while Parisian public of the 18th century preferred his early works in the spirit of court opera of Louis XIV era, modern directors give preference to the more spectacular later works and revisions, presenting composer as an innovator who anticipated Rameau’s musical discoveries.

Keywords: André Cardinal Destouches; Baroque music; operas; ballets; Académie royale de musique; Louis XIV; operatic revisions.

 

Natalia Ogarkova (Doctor habilitatus in Arts studies, Leading Researcher of Russian Institute of Art History, St Petersburg). About M. I. Glinka’s ceremonial compositions

The article is the first publication on the topic of M. I. Glinka’s ceremonial music. It describes the history of compositions in this genre, which the composer addressed quite rarely, since writing “music to order” significantly limited his living space and creative freedom. The author pays special attention to the problems with the literary texts of Glinka’s ceremonial compositions: the difficult process of working with customers and the further history of the publication of these works in the 19th and 20th centuries, complicated by political problems.

Keywords: M. I. Glinka; ceremonial compositions; Russian Imperial court; literary text and its versions.
 

Viacheslav Tsypin (Doctor habilitatus in Arts studies, Leading Researcher of Moscow Conservatory). On the ancient Greek concept of μουσική

The article describes in its main features the understanding of music in Ancient Greece. Broader and more heterogeneous than now, it included, among others, elements of psychology and cosmology. The relationship between theory and practice in their unity, typical of ancient musical culture, is examined. This examination is based on the original works of music theorists (Aristoxenus, Aristides Quintilianus, Ptolemy) and philosophers (Plato, Plutarch).

Keywords: Antiquity, ancient Greek music, harmony, Aristides Quintilianus, Ptolemy
 

Yuri Bocharov (Doctor habilitatus in Arts studies, Leading Researcher of Moscow Conservatory). Musical art through the prism of the List of the Higher Attestation Commission

The modern version of the List of Higher Attestation Commission and the current results of the differentiation of its journals are described in the article. In total, at least 46 journals have been identified suitable for publishing articles on specialty 5.10.3. Arts (musical art). There are 21 specialized musicological journals among them and 25 journals covering not only music but also other arts and problems of cultural studies, pedagogy, philosophy, etc. The author notes significant shortcomings of some journals and proposes effective measures that can reduce the number of articles that are not the results of original research.

Keywords: The List of Higher Attestation Commission; journals; articles; dissertations, musicology.

 

Starinnaya muzyka № 4 (102) 2023

Valery Berezin (Doctor habilitatus in Arts studies, Professor, Moscow State Conservatory). Flutes and clarinets in ‘Diapason général de tous les instruments à vent’ by Louis-Joseph Francoeur

The article deals with Louis Joseph Francoeur’s treatise, which contains important information about expressive capabilities of musical instruments used in orchestra in the Classical era. This work is a relatively rare treatise on musical instruments published in the second half of the 18th century and it is almost unknown to Russian musicologists, since it was never published in Russian. The author describes in detail only two chapters on flutes and clarinets, combining traditional musicological description with detailed quotations from the text of the treatise translated into Russian.

Keywords: Louis-Joseph Francoeur; flute; clarinet; history of orchestration; music of the Classical era.

 

Iulia Moskva (Doctor habilitatus in Arts studies, Professor, Moscow State Conservatory). “Crux fidelis” (“Pange lingua… proelium”) by Venantius Fortunatus

The article offers for the first time a complete commentary translation into Russian of the text of the famous Latin hymn “Pange lingua” by Venatius Fortunatus. This hymn, written in the 6th century AD, occupies a special place in European culture, poetic and musical art, as well as in Western Christian liturgy. It became a model for many subsequent examples of this genre in poetic and metrical terms. He also inspired composers of different eras (from Palestrina to Franz Liszt) quoting both the text and the tune. The bilingual (Russian / Latin) text is accompanied by the author's commentary, explaining some difficult expressions and paying attention to the features of poetic stylistics.

Keywords: Venantius Fortunatus; hymn; Latin poetics; liturgics.

 

Irina Susidko (Doctor habilitatus in Arts studies, Professor, Gnesin Russian Academy of Music). Between musical score and ars memoria

Review of the monograph: Berger, Anna Maria Busse. Medieval music and the art of memory. Saint Petersburg: Academic Studies Press / Bibliorossika, 2023. The author of the review especially notes the importance of ars memoria principles for early polyphonic music.

Keywords: Medieval music; polyphony; musical composition; ars memoria; musical score.
 

Pavel Luzker (Doctor habilitatus in Arts studies, Professor, Gnesin Russian Academy of Music). Renaissance – an age without music?

Review of the monograph: Lütteken, Laurenz. Renaissance music: a cultural practice in dreams and reality. Saint Petersburg: Academic Studies Press / Bibliorossika, 2023. The author of the review especially notes the importance of the expanded sociocultural approach chosen by Lütteken in examining the music of the 15^th and 16^th centuries, which allows it to be integrated into the cultural and historical context of that era.

Keywords: Renaissance music; musical composition; music and other arts.

 

Starinnaya muzyka № 3 (101) 2023

Mikhail Saponov (Doctor habilitatus in Arts studies, Professor, Moscow State Conservatory). The revelations of Jacopo Peri

The author clarifies the historical emphases in interpreting the events and problems of singing on stage, which was topical and most relevant to the so-called “Bardi Camerata” that was known from 1573 to (at the latest) 1592. It is also clarified how the musicians used the information about ancient singing, how they understood it and put it into practice. The result was the development of Italian (Florentine) way of singing dialogues, which eventually became operatic recitative.

The article is followed by the first publication in Russian of J. Peri’s introductory article to the Florentine edition of “Euridice” (1600/01) translated and with comments by M. Saponov.

Keywords: Jacopo Peri; Camerata; Giovanni Bardi; singing of dialogues; operatic recitative; early opera.

 

Arseny Ivanov (postgraduate student, Gnesin Russian Academy of Music). Aesthetic and theoretical ideas about the sonata in the 18^th and the early 19^th centuries: a historical review

The article is a review of aesthetic and theoretical ideas about the sonata as a musical genre, recorded in the main lexicographic and theoretical publications in the 18^th and the early 19th centuries, including the musical dictionaries by S. de Brossard, J. G. Walther, J.‑J. Rousseau and K. H. Koch, treatises by A. F. C. Kollmann and A. Reicha. These books did not fully reflect the realities of composer practice, but they are typical for the time. The author identifies the main features of the evolution of ideas about the sonata, such as its differentiate among related instrumental genres, the awareness of its cyclic organization and the emerging understanding of so-called sonata form as a typical musical structure.

Keywords: sonata; sonata cycle; sonata form; Baroque music; music of the Classical period; musical dictionaries and treatises.

 

Sufiya Muratalieva (PhD, Assistant Professor, Moscow Conservatory). The harp in C. P. E. Bach’s music: facts and reflections

The author draws special attention to the fact that C. P. E. Bach wrote only one work for the harp. It is a solo sonata in G major in three movements (Wq139, H 563), which was probably intended for Franz Brennessel, who served as harpist at the court of Frederick II and was a student of the composer. As for the work called “La Bataille de Bergen”, which is very popular among harpists, C. P. E. Bach’s authorship is currently recognize as inauthentic. The author also criticizes the widespread tradition of a free attitude towards the original text of C. P. E. Bach’s harp sonata in performance practice. Indeed, the initially prescribed basso continuo part is usually ignored, and the structure of composition changes. In this case, the initial slow movement often turns out to be the second, which would seem to be more consistent with the usual classical manner, but contradicts the form of solo sonatas established by J. J. Quantz.

Keywords: C. P. E. Bach; harp; sonata; J. J. Quantz; “La Bataille de Bergen”.

 

Starinnaya muzyka № 2 (100) 2023

Sergej Nikiforov (PhD in Arts studies, Lecturer, Moscow Conservatory). Proizvedeniya v chest' cesarevny Anny Petrovny i  gertsoga Karla Fridrikha Gol'shtejn-Gottorpskogo na gamburgskoj scene i v koncertnoj praktike G. F. Telemana / Works in honor of princess Anna Petrovna and Charles Frederick, Duke of Holstein-Gottorp, in the Hamburg Opera and in the concert practice of G. Ph. Telemann

This article deals with two musical and theatrical compositions of 1725 written on the occasion of the engagement of Russian princess Anna Petrovna and Charles Frederick, Duke of Holstein-Gottorp, which are an allegorical prologue with an epilogue and a serenata. The author pays special attention to sources important for study of these works. The first is Thomas Lediard’s “Eine Collection Curieuser Vorstellungen, in Illuminationen und Feuer=Wercken” (Hamburg, 1730) which contains a description of the musical and theatrical performances at the Hamburg Opera. And the second is the surviving edition of the libretto for G. Ph. Telemann's “Cimbriens allgemeines Frolocken”. As a result, the author concluded that it was Telemann who wrote the music for the prologue and epilogue, performed at the Hamburg Opera. And shortly after the premiere, the composer revised the same work into a serenata and performed it in one of his regular concerts in the Drillhaus.

Keywords: G. Ph. Telemann, T. Lediard; prologue; epilogue; serenata; illuminations.

Alexei Panov (Doctor habilitatus in Arts studies, Professor, St Petersburg University), Ivan Rozanoff (Doctor habilitatus in Arts studies, Professor, St Petersburg University and St Petersburg Conservatory). Monokhord: instrument klaviristov-virtuosov / Monochord as instrument for keyboard virtuoses

The article deals with the problems of interpretation of the term “monochord” and its derivatives in early treatises on music and in reference and encyclopedic publications. It is shown that the word “monochord” in early musical terminological systems was polysemantic. From a fairly early time, the indicated term was used not only for an acoustic device with one string, but also for the clavichord. It has been established that the first, apparently, who wrote about the monochord as a keyboard musical instrument of a triangular shape with 19 diatonic strings, was Joann de Muris (treatise “Musica speculative”, 1323). Later, the term “monochord” in the meaning of “clavichord” was used by Spanish and English musicians and lexicographers. The article also contains a brief review of modern scholarly publications on the research topic.

Keywords: monochord; clavichord; organology; early keyboard instruments; musical treatises; musical lexicography.

Yuri Bocharov (Doctor habilitatus in Arts studies, Leading Researcher of Moscow Conservatory). Escho raz o novom metode sistematizatsii form instrumental’noj muzyki epokhi barokko / Once again about the new method of Baroque instrumental forms systematization

The author criticizes the theory of baroque musical forms that exists in modern Russian musicology, and makes the necessary adjustments to the systematization of these forms proposed by him not so long ago. This systematization based on a new structural and content method which is fully suitable for baroque music and in particular for various forms of instrumental compositions. So, all baroque forms may be divided into so-called monostructures, polystructures and macrostructures. Their variants, from simple mono-affective compositions to large composer’s collections of single-genre or multi-genre works, are not only briefly described in the article, but also presented in typological tables.

Keywords: The Baroque era; instrumental music; musical form; systematization.

 

Alexandra Safonova (PhD in Art studies, Senior Researcher of Moscow Conservatory). Pis’mo gospodinu Paisiello ot lyubitelej opernogo iskusstva / Letter to Mr Paisiello from opera lovers

This publication is an annotated translation of a very remarkable document, preceded by a short introductory article. This document is the public letter to Mr Paisiello from opera lovers published in 1802, but still relatively obscure among music historians. The Letter tells about serious problems in the Paris Opera by the beginning of the 19th century. These problems were associated with the destruction the traditional system of vocal education during the French Revolution. Authors of the Letter turn to the composer Giovanni Paisiello, who has just arrived in Paris at the invitation of Napoleon Bonaparte, in the hope that the famous Italian maestro will support the project of reform of musical education in France that they propose to the First Consul. Previously, the translation of the Letter into Russian was not published.

Keywords: Giovanni Paisiello; Napoleon Bonaparte; Paris Opera; maîtrise; musical education; Paris Conservatoire; Bernard Sarrett.

 

Starinnaya muzyka № 1 (99) 2023

Valery Berezin (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory). Muzyka i balet v vospitanii Ljudovika XIV / Music and Ballet in the Education of Louis XIV

The article describes how artistic tastes of the king were formed in his childhood and youth through music and ballet. The author notes an important role of Cardinal Mazarin and Queen Anne of Austria in Louis XIV’s education. The article contains information about the royal teachers of music and dance. The memoirs of contemporaries, historical documents, scholarly materials in music history are also given. A lot of information is published for the first time in Russia.

Keywords: Louis XIV; music; ballet; musical education; French Baroque music.

 

Elena Kruglowa (PhD in Arts studies, Professor, The State Musical Pedagogical Institute named after M. M. Ippolitov-Ivanov, Moscow). Solfeggio Porpory kak instruktivnyj material dlja sozdanija improvizatsij v starinnyh arijah / Porpora’s Solfeggi as Instructive Material for Improvisations in Baroque Arias

The article deals with the actual problems of performing vocal ornamentation and improvisation based on the Italian solfeggios of the 18th century, and above all Porpora's solfeggios. The melodic formulas used in such compositions allowed the singers to achieve flexibility and coloratura mobility in their voice and at the same time accumulate in their memory typical melodic turns for their own improvisations in the performed arias. The article contains various opinions of the greatest masters of Baroque vocal pedagogy. For the first time in musicology, the author analyzed samples of Italian solfeggio of the 18th century in terms of using them to teach singers the art of improvisation.

Keywords: Baroque era; Nicola Porpora; vocal pedagogy; vocal exercises; solfeggio; vocalizations; vocal ornamentation; improvisation.

 

Maria Bazilevich (PhD in Arts studies, Assistant Professor, Tyumen State Institute of Culture). Interpretatsija legendy o Don Juane v opere F. Gerolda “Zampa, ili Mramornaja nevesta” / Interpretation of the Legend about Don Juan in F. Hérold’s “Zampa ou la Fiancée de Marbre”

The article deals with the problem of musical interpretation of the legend about Don Juan in F. Hérold’s Zampa ou la Fiancée de Marbre composed in form of French opéra-comique. The materials of the study were music and libretto of the opera, Herold’s biography and foreign and Russian studies on the history of French opera. The author believes that the main idea and the plot of the famous legend can be traced not only in the libretto of the opera, but also in its musical dramaturgy and expressive means to create musical images. Originally and popularity of the opera are due to the continuation of the traditions of Mozart's Don Giovanni and the individuality of the author’s style united various musical influences in accordance of aesthetics principles of musical Romanticism. It could be argued that Zampa ou la Fiancée de Marbre made a significant contribution to the development of French opera in the 19th century.

Keywords: Ferdinand Hérold; Zampa ou la Fiancée de Marbre; opera-comique; Don Juan; musical interpretation.

 

Starinnaya muzyka № 4 (98) 2022

Yuri Bocharov (Doctor habilitatus in Arts studies, Leading Researcher of Moscow conservatory). Zametki o barochnykh balletti / Notes on Baroque balletti

The author notes two main trends in the use of the term ballet (in various spellings) in the musical сompositions in the Baroque era, paying special attention to the variety of non-theatrical, proper instrumental balletti. The main type of such compositions is usually a small dance in binary form in duple or quadruple meter which presented in collections of Italian and German instrumental music, often as a part of suite. However, the name Balletto also referred to the numerous compositions by J. H. Schmelzer consisting mainly of dances that existed in manuscripts. These compositions were a reflection of the Viennese theatrical and court dance practice. And in the early 18th century, the plural form of the term (Balletti) was sometimes used as a synonym for the concept of sonata da camera (for example, in the works by T. Albinoni and R. Valentine).

Keywords: ballet; balletto; Baroque instrumental music; suite; sonata da camera.

 

Gleb Konkin (Moscow conservatory, 5th year student of Faculty of Musicology and Composition), Nikolai Tarasevich (Doctor habilitatus in Arts studies, Professor and vice-rector of Moscow conservatory). “Svyastchennye pesnopeniya”: k istorii ponyatiya / Cantiones sacrae: the history of concept

The authors examine the history of the concept of cantiones sacrae (“sacred chants”), often found on the title pages of the partbooks in the XVI century, as well as the authentic meaning of the term. The study of the musical sources of that time allows us to conclude that sacred chants, on the one hand, were understood as motets, and on the other hand, this concept did not refer to a specific musical genre, but to a corpus of various compositions written not only in spiritual, but also on secular texts. Moreover, other variants of names were used in Renaissance partbooks of vocal compositions.

Keywords: cantiones sacrae; Renaissance; vocal music; motet; partbooks.

 

Anna Farbak (Moscow conservatory, 4th year student of Faculty of Musicology and Composition). “Buduchi dal’she ot solntsa, my pozdnee vzrosleem”: “Prorochitsa” Genri Persella / “Вeing farther from the Sun, we are of later Growth”: “The Prophetess” by Henry Purcell

The article deals with Henry Purcell's “The Prophetess, or The History of Dioclesian” (1690). The play is of interest as the first example of semi-opera in the composer's work. At the same time, The Prophetess sheds light on many problems of English musical theatre in the end of the 17th century. Specifics of genre, plot, publication, and staging of this work determined its “survival” in the theatre in different ways: quite successful for its time, it has been almost forgotten in the last three centuries.

Keywords: Henry Purcell; semi-opera; Baroque music; English theater; heroic drama.

 

Starinnaya muzyka № 3 (97) 2022

Natalia Plotnikova (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory and State Institute for Art Studies, Moscow). Blagodarstvennye sluzhby v chest’ voennykh pobed Petra Pervogo: iz naslediya gosugarevykh pevchikh d’yakov. “Bregi angutskiya, propovedite dela Bozhiya” / Thanksgiving Services in Honour of the Military Victories of Peter the Great: from the Heritage of the Sovereign’s Singing Clerks (d’yaki). “Coasts of Gangut, preach the deeds of God!”

The article introduces into scholarly use the Thanksgiving service dedicated to the naval victories of the Russian fleet at Gangut (July 27, 1714) and Grengam (July 27, 1720). The author, having studied the manuscripts of chants from the Russian State Archive of Ancient Acts, attributes the previously unknown texts of the Service to Chief Hieromonk Buzhinsky. The analysis of the musical style reveals the peculiarity of the harmony and voice leading of four-part Sticheras, the author of which has not yet been identified. The Musical Appendix contains the first publications of the second Stichera from this cycle.

Keywords: The Great Northern War; The Battle of Gangut; The Battle of Grengam; The Sovereign’s singing clerks; Thanksgiving service; stichera.

 

Alexandra Safonova (PhD in Arts studies, Senior Research Fellow, Center of Methodological Studies in Historical Musicology, Moscow Conservatory). “Pokhischennaya krest’anka ili Sonnyj poroshok” v teatre S. S. Apraksina / “La villanella rapita” on the stage of Stepan Apraksin's theatre

The proposed article tells about the best private theater in Moscow in early of the 19th century, which belonged to General Stepan S. Apraksin. The partially preserved handwritten music archive in the collections of the Russian State Library allows us to describe some versions of popular European operas, specially made by this theater. An interesting example is "La Villanella rapita”, which is listed in the Catalogue of Russian State Library as an opera by P. A. Guglielmi. However, a comparative analysis with different versions of this work and materials from other popular operas of the last quarter of the 18th century shows that this is a pasticcio with music of such famous composers as F. Bianchi, P. A. Giglielmi, W. A. Mozart, D. Cimarosa, G. Paisiello etc.

Keywords: Apraksin’s Theatre; opera buffa; French opéra-comique; pasticcio; “La villanella rapita”; F. Bianchi; P. Guglielmi; W. A. Mozart; D. Cimarosa; G. Paisiello.

 

Mikhail Saponov (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory). Mikelandzhelo Mladshyj i premiera “Evridiki” / Michelangelo the Younger and “Euridice” premiere performance

Here is the first Russian translation (with comments) of a fragment from Michelangelo Buonarroti the Younger’s (1568–1646) Descrizione delle felicissime nozze... (Firenze, 1600), i. e. his interpretation of the performance of Euridice, one of the first “early operas”. In this regard, problems of reception of the new genre by its contemporaries and early forms of recitative are posed, as well as the birth of opera from madrigal “laboratories”.

Keywords: Michelangelo Buonarroti the Younger; Jacopo Peri; Giulio Caccini; early opera; early recitative; solo madrigal.

 

Starinnaya muzyka № 2 (96) 2022

Natalia Plotnikova (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory and State Institute for Art Studies, Moscow). Blagodarstvennye sluzhby v chest’ voennykh pobed Petra Pervogo: iz naslediya gosugarevykh pevchikh d’yakov. “Stikhiry torzhestvennye o pobede nad Levengauptom” / Thanksgiving Services in Honour of the Military Victories of Peter the Great: from the Heritage of the Sovereign’s Singing Clerks (d’yaki). ‘Solemn Sticheras in honor of the victory over Lewenhaupt’

The article introduces into scholarly use the “Solemn Sticheras” dedicated to the victory of Russian troops over General A. Lewenhaupt’s corps on September 28, 1708 near the village of Lesnaya (on the territory of present-day Belarus). This battle, in which tsar Peter the Great himself participated, was not only of great strategic importance, but was also reflected in chants of the Russian Orthodox church. The author examines manuscript sources of these chants, stored in the Russian State Archive of Ancient Acts. The Musical Appendix contains the first publications of the first Stichera, Troparion and Kontakion from this cycle.

Keywords: The Great Northern War; The Battle of Lesnaya; General A. Lewenhaupt; Peter the Great; chants of Russian Orthodox Church; Sticheras.

 

Vladislav Devutsky (Doctor habilitatus in Arts studies, Professor of the Voronezh State Institute of Arts). Prinzipy linejnosti i frottol’noj kupletnosti: ot 16 do 20 veka / Linearity and frottola-couplet principle of musical form from the 16^th to the 20^th century

The article is concerned with linearity as one of the most important principle of musical form, which has not yet been properly studied in Russian musicology. However, this principle helps to understand and appreciate the structure of many Late Renaissance and Baroque compositions as well as some later works up to the beginning of the 20th century. According to the author, linearity in combination with the couplet principle of musical form contributed to the formation of so-called frottola-couplet forms back in the 16th century. Moreover, the concept of four evolutionary types of couplet form is introduced in the article.

Keywords: musical form; linearity; couplet principle; frottola; frottola-couplet forms.

 

Anna Nedospasova (PhD, Associate professor of the Novosibirsk State Conservatory), Alexander Baiunov (PhD, acoustic engineer, early guitar and harpsichord builder, Moscow). Klavesin 21 veka: formirovanie novoj paradigmy razvitiya instrumenta / The 21th-century harpsichord: new development paradigm

The conventional approach of harpsichord building based on copying of historical instruments has many disadvantages discussed in the present study. We offer a new approach for making of harpsichords based on the use of modern technologies, new stringing and plectrum materials etc. The use of this approach helped us to build light and compact instruments with the bright and loud tone, stringed with silver, melchior, bronze and nickel brass. Some of these harpsichords have multiple plucking stops with possibility to vary the plucking points, thus producing many different tone colours. Some features of these changes are observed in European studies which makes it possible to talk about the beginning of the new era in harpsichord building.

Keywords: harpsichord; harpsichord makers; copying of historical instruments; stringing and plectrum materials; new era in harpsichord building.

 

Starinnaya muzyka № 1 (95) 2022

Valery Berezin (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory). Andre Danikan Filidor i ego notnye sobraniya / Andre Danican Philidor and his musical collections

The Danican-Filidor dynasty served at the French Royal court for over a hundred years. Andre Danican Philidor, an oboist and composer, was the chief curator of the royal music library for a long time. He collected many musical manuscripts and printed scores (so-called Collection Philidor and Collection Toulouse-Philidor) and thus preserved many works of the best French and partly Italian composers from the late 16^th to the early 18^th centuries. This article discusses both the biography of Philidor himself and the history of his collections.

Keywords: Andre Danican Philidor; Collection Philidor; Collection Toulouse-Philidor; French Baroque music; Louis XIV.

 

Sufiya Muratalieva (PhD, Assistant Professor, Moscow Conservatory). Kamernaya instrumental’naya muzyka Karla Filippa Emanuelya Bakha / Carl Philipp Emanuel Bach’s chamber instrumental music

The article gives a general description of C. Ph. E. Bach’s chamber instrumental heritage, using the Catalog of his compositions made soon after his death, and his Complete works, published in the 21^st century. Unlike most composers of his time, C. F. E. Bach preferred various ensemble compositions (often with the participation of the clavier) to the string quartet genre. The author analyzes the genre and compositional specifics of the composer’s ensembles, paying special attention to works written in the late period, when C. F. E. Bach come close to creating the piano trio genre.

Keywords: C. P. E. Bach; J. S. Bach; chamber instrumental music; clavier; ensemble; Trio-sonata; Quartet.

 

Elena Kruglova (PhD, Professor, Ippolitov-Ivanov State Musical Pedagogical Institute, Moscow). Proizvol’naya ornamentika pevtsa-kastrata 18 veka Gaetano Guadan’i i sovremennoe ispolnitel’stvo / Free ornamentation of the 18th century castrato singer Gaetano Guadagni and contemporary performing practice

The article is intended to draw attention to Baroque vocal music and the actual problems of its authentic performance. The author presents a comparative analysis of the free ornamentation used in “«Affanni del pensier” from Handel’s «Ottone» by famous 18th-century castrato singer Gaetano Guadagni, on the one hand, and modern American singers, bright interpreters of early music Lisa Saffer and Claron McFadden, on the other. As a result of the comparison, some similarities are revealed, but at the same time a fundamental difference in the interpretation of this aria in the Baroque era and in our time. The author argues his own opinion about the importance of free ornamentation, about the specifics of decorations and the amount of their use by singers of the past and modern vocalists. According to the author, the reconstruction of the of Gaetano Guadagni’s performing variation of musical text demonstrates not only his excellent coloratura technique, virtuosity, and stylistic consistency, but also convincingly proves the meaning of improvisation, which consists in highlighting the most important, key words, a bright, extremely expressive report to the listener of affect captured in this aria.

Keywords: Gaetano Guadagni; Lisa Saffer; Claron McFadden; opera; Handel; aria; Baroque improvisation; authentic performance.

 

Starinnaya muzyka № 4 (94) 2021

Iulia Moskva (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory). Knigi dlya pevchikh v sisteme latinskikh liturgicheskikh knig / Chant Books in the system of Latin liturgical Books

The article presents an experience of systematizing of Latin liturgical books from a historical perspective, which is very relevant for scholarly development of a huge manuscript heritage, including musical one. The construction of different classifications corresponding to certain historical periods is associated with the definition of a special place in them for musical liturgical books.

Keywords: Latin liturgical books; Antiphoner; Gradual; Kyrial; Hymnal; Sequentiary; singing Psalter; Troper; Cantatorium; Processional; Missal; Breviary; Lectionary; Collectar.

 

Elena Kruglova (PhD, Professor, Ippolitov-Ivanov State Musical Pedagogical Institute, Moscow). Proizvol’naya ornamentika pevitsy 18 veka Izabelly Zhirardo i sovremennoe ispolnitel’stvo / Free ornamentation of the 18th century singer Isabella Girardeau and contemporary performing practice

The article a comparative analysis of free ornaments used in Laschia ch’io pianga aria from Handel’s “Rinaldo” by the famous singer of the XVIII century Isabella Girardeau and modern performers, such as Derek Lee Ragin, Eva Mallas-Godlewska, Renée Fleming and Cecilia Bartoli. As a result, the author of the article comes to the conclusion about a more flexible use of free decorations in the Baroque era: melismatic figuration and passage technique, diminishing techniques, varying melody and rhythmic pattern, which significantly increase the expressiveness of keywords.

Keywords: Isabella Girardeau; Handel; Baroque era; opera; aria; ornamentation; improvisation; authentic performance.

 

Anna Bulycheva (PhD, Associate professor, Moscow Conservatory) “Prelozhenie proportsij” v kontserte Leontiya-monakha “Okom blagoutrobnym” v svete barochnoj teorii takta / Shifting of meters in Leonty the Monk’s vocal concerto With Merciful Eyes in view of Baroque measure theory

The article is devoted to the twelve-part concerto by Leontius the monk With Merciful Eyes, composed in the first third of the 18^thcentury. The concert contains four refrain presented in different rhythmic “proportions”: 3/1, 3/2, 3/4 and once more 3/1. The refrain alternates with episodes in duple metre. The problem of how all the episodes should relate to each other in terms of tempo is considered on the basis of information from three treatises of the Baroque era, which present three different points of view.

Keywords: Russian baroque; partes concerto; Kiev school; Nicolaus Dylecki; Michael Praetorius; mesure in music.

 

Natalia Plotnikova (Doctor habilitatus in Arts studies, Professor, Moscow Conservatory and State Institute for Art Studies, Moscow). Blagodarstvennye sluzhby v chest’ voennykh pobed Petra Pervogo: iz naslediya gosugarevykh pevchikh d’yakov. “Kamenem rossijskim sokrushivyj zamok svejskij”: pesnopeniya za vzyatie Shlissel’burga / Thanksgiving Services in Honour of the Military Victories of Peter the Great: from the Heritage of the Sovereign’s Singing Clerks (d’yaki). ‘Crushing the Swedish Castle with the Russian Stone’: chants for the capture of Schlüsselburg

The article introduces into scholarly use the chants of the Service of Thanksgiving dedicated to the capture of the Swedish fortress Nöteborg/Noteburg by Russian troops during the Northern War on October 11, 1702 (immediately thereafter the fortress was renamed Schlüsselburg/Shlisselburg). The author examines the handwritten sources of the Service – the singing books of the church singers (singing clerks, d’yaki) of the time of Peter the Great, the texts used in the Service, the chants’ harmony and texture. Issues related to the authorship of words and music are discussed. The Appendix contains the first publications of the first Stichera and Kontakion from the Service.

Keywords: the capture of Schlüsselburg; the era of Peter the Great; the Sovereign’s singing clerks; thanksgiving service.

 

Starinnaya muzyka № 3 (93) 2021

Yuri Bocharov (Moscow). K probleme zhanrovoj tipologii instumental'noj muzyki epokhi Vozrozhdeniya / On the problem of genre typology of instrumental music of the Renaissance

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 (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

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 (Moscow). Goboj v shkolakh i traktatakh pervoj poloviny 19 veka / Oboe in instructions and treatises of the first half of the 19th century

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 (Moscow). Modest Dmitrievich Rezvoy – teoretik i praktik muzykal’nogo iskusstva / Modest Dmitrievich Rezvoy as music theorist and practitioner

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.

 

Starinnaya muzyka № 2 (92) 2021

Valery Berezin (Moscow). Muzyka korolej Frantsii vo vtoroj polovine XVIII veka: poslednie reformy / Music of French Kings in the second half of the 18^th century: the final reforms

The article describes the reasons and content of the reforms of the court music of French kings in the second half of the 18^th century, based on the royal edicts of 1761 and 1782. The author also offers a commented translation of these documents with minor cuts.

Keywords: French music; Louis XV, Louis XVI; Royal musicians; La Chapelle; La Chambre du Roy.

 

Yuri Bocharov (Moscow). Simfonia v kontekste muzykal’noj terminologii XVI – pervoj poloviny XVIII veka / Sinfonia in the context of musical terminology from the 16^th to the mid-18^th century

The article is focuses on the use of sinfonia as term during the Late Renaissance and the Baroque era. The results of the study of numerous musical sources proper, as well as the largest European dictionaries of that time, indicate numerous differences in the use of this term, especially in relation to various kinds of musical compositions. And the options can be very different in the range from a generalized idea of ​​a musical piece to a very specific genre name. At the same time, specific cases of its application directly depended on the diverse circumstances of the musical and historical context.

Keywords: sinfonia; instrumental music; opera; music genre; the Baroque era; musical sources.

 

Marina Zhangaulova and Mikhail Saponov (Moscow). Baletnyj manifest Gasparo Andzholini / Ballet manifesto by Gasparo Angiolini

This publication consists of an introductory article and a commented Russian translation of Gasparo Angiolini’s Program for Le Festin de Pierre. Its original text, which also contains a libretto, was published in French for the premiere of this ballet with music by Chr. W. Gluck in Vienna’s Burgtheater in 1761 (later that year its German version was printed). The Program contains also such an expressive discourse in support of the dramatic pas d’action ideas, that may be clear evidence for the choreographer’s authorship.

Keywords: Gasparo Angiolini; Christoph Willibald Gluck; Ranieri de’Calzabigi; Jean-George Noverre; ballet d’action; pantomime; ballet reform.

 

Anna Nedospasova (Novosibirsk) and Alexander Baiunov (Moscow). Clavisimbalum Anri Arno: opyt rekonstruktsii / Clavisimbalum by Henri Arnaut de Zwolle: reconstruction experience

The article contains information about an early, non-preserved form of the 15th century harpsichord called "clavisimbalum". The authors describe the intended field of application of the instrument and its repertoire. They also describe the successful experience of reconstruction of this early keyboard instrument, based on the materials  from the Manuscript of  Henri Arnaut de Zwolle. This reconstruction was first carried out in Russia.

Keywords: сlavisimbalum; Henry Arnaut de Zwolle; keyboard instruments; reconstruction.

 

Starinnaya muzyka № 1 (91) 2021

 

Mikhail Saponov (Moscow). Pervyj vek Messy h-moll J. S. Bakha / The first century of J. S. Bach’s Mass in B Minor (pp. 1–15)

The article, slightly reconstructing the long way (over a century) towards a complete performance of Bach’s B Minor Mass, uses the narration as a background for discussion on several important problems. 1. The dramatic reception history of the Mass and other Bach’s masterpieces during the first hundred years after his death. 2. New aspects of research of musical life in main Bach reception centres of Germany from the end of the 18th century up to the 1850s, including peculiar ways of sacred music realisation in Berlin and Frankfurt, which the article denotes as “club society’s” or “burgher” realisations. 3. The decisive influence of Carl Friedrich Zelter’s conception of the B Minor Mass as a unity and his leadership in Bach revival movement of his time. 4. The reasons of the strange slowness with which the realization (in performance) of the masterpiece as a whole was implemented.

Keywords: J. S. Bach; B Minor Mass; Sing-Akademie zu Berlin; choral societies; C. F. Zelter; A. B. Marx; historically informed interpretation.

 

Elena Yuneeva (Volgograd). Checkina iz Florentsii / La Cecchina from Florence (pp. 16–22)

The article is the first musicological publication in Russian, focuses on the career of the famous Florentine singer and composer Francesca Caccini, whose talent was highly appreciated by the great Claudio Monteverdi. Francesca turned out to be one of the few women of her time who achieved great success in the musical field. Moreover she was the first woman to write an opera. And her music largely contributed to the formation of early Baroque style in music of the first quarter of the 17th century.

Keywords: Francesca Caccini; women-composers; Florentine opera; music of Early Baroque; Grand Dukes of Tuscany; court musicians.

 

Maria Bazilevich (Tyumen). Ferdinand Hérold: zabytyj master frantsuzskoj muzyki / Ferdinand Hérold: the forgotten master of French music (pp. 23–31)

The article is the first musicological publication in Russian about Ferdinand Hérold, a famous French composer in the first third of the 19th century, whose numerous operas, ballets and instrumental compositions were later largely forgotten. The author not only describes the most important stages of Hérold’s musical career and stylistic evolution of his music, but also makes an attempt to assess his contribution to the history of music.

Keywords: Ferdinand Hérold; French music; opera; opéra-comique.

 

Starinnaya muzyka № 4 (90) 2020

Yuri Bocharov (Moscow). Tombeau v instrumental’noj muzyke epokhi barokko / Tombeau in instrumental music of the Baroque era

The article focuses mainly on baroque instrumental compositions of a memorial character by composers of France and the Holy Roman Empire of the 17th and first half of the 18th century. The author regards these works as a very specific genre called tombeau. He also briefly traces the tradition of making musical tombeaux in post-Baroque times, with particular attention to its revival in 20th century music.

Keywords: tombeau; Baroque era; instrumental music; lute music sources; compositions for bass viol; harpsichord music.

 

Pavel Luzker (Moscow). “Dzhirello” Jacopo Melani – zabytyj opernyj shedevr XVII veka / Jacopo Melani’s Il Girello: a forgotten opera masterpiece of the 17th century

The author focuses on Jacopo Melani’s opera Il Girello, which have a special place in the history of Italian musical theater. Its production in 1668 opened a new stage in the development of the Roman opera tradition. Melani’s Florentine experience, librettist Acciaiuoli’s interest in puppet theatre, as well as the involvement of the commedia dell’arte troupe in this production led to the predominance of comic poetics in the performance. The originality of the composition is also determined by the numerous political allusions to the topic of the day, as well as the special burlesque expressiveness of images and the maturity of musical compositional decisions.

Keywords: Il Girello; Jacopo Melani; Filippo Acciaiuoli; Roman opera in the 17th century; baroque musical theatre.

 

Alexey Panov, Ivan Rozanoff (Saint Pertersburg). Virginal – k probleme definitsii termina / Virginal – to the problem of the definition of the term

The article is devoted to the problems of interpretation of the term virginal, as well as a number of other names of keyboard-stringed musical instruments in the works of early musicians (S. Virdung, M. Agricola, O. Luscinius, M. Mersenne, J. de Muris, Paulirinus from Prague, M. Praetorius), in English reference and encyclopedic literature of the 17th century and in modern scholarly literature.

Keywords: virginal; England; early music; musical terminology; organology; keyboard-stringed musical instruments.

 

Aleksandra Alexandrina, Anna Bulycheva (Moscow). Vsenoschnoe bdenie Vasiliya Titova kak “kollektivnoe” sochinenie / All-Night Vigil by Vasily Titov as a “collective” work

The article deals with the All-Night Vigil a 12 by Vasily Titov (circa 1650–after 1711), the greatest Russian Baroque composer. Twelve surviving manuscript copies of this work are compared, containing a total of 21 hymns. Comparison of the frequency of their appearance in sources of different times, as well as stylistic analysis show that Titov most likely was the author of eight hymns only. Twelve new hymns added by unknown scribes after Titov’s death are anonymous, and the Psalm Bless, my soul, the Lord belongs to another author – Andrei Gavrilov, Protodeacon of Rostov.

Keywords: Vasily Titov; All-Night Vigil; partes style; Russian Baroque; collective authorship.
 

Starinnaya muzyka № 3 (89) 2020

Elena Yuneeva (Volgograd). Retrospektiva: opernaya primadonna epokhi barokko Anna Renzi / Retrospective: Anna Renzi, prima donna of Baroque opera (pp. 1–7)

The author focuses on the creative figure of Anna Renzi, the prima donna of the Venetian opera scene of the mid-17th century. The main stages of the singer’s creative biography are traced, her outstanding vocal and acting abilities are noted, which made it possible to amaze contemporaries with her interpretations of numerous roles in operas by F. Sacrati, C. Monteverdi, F. Cavalli, P. A. Ziani and other Italian composers of the Baroque era. This article is actually the first special publication about Anna Renzi in Russian.

Keywords: Anna Renzi; Venetian opera; vocal art; baroque music.

 

Alexandra Safonova (Moscow). Pokroviteli I put’ k uspekhu, ili Andre Gretri i istoricheskiye kollizii vo Frantsii poslednej treti 18 veka / Patrons and path to success, or André Grétry and historical conflicts in France of the last third of the 18th century (pp. 8–13)

The article discussed the main stages of the creative path of André Ernest Modest Grétry in the context of the most important historical events in France of the last decades of the 18th century. The important role played by his aristocratic patrons in France of that time, including Prince de Conti, the Swedish ambassador to Paris Count de Creutz, as well as Queen Marie Antoinette, is emphasized.

Keywords: Grétry; French opera; Count de Creutz; Prince de Conti; Marie Antoinette; the French Revolution.

 

Larissa Kirillina (Moscow). Bethoven, orfika I graf Razumovsij / Beethoven, orphica, and the Count Razumovsky (pp. 14–19)

The article deals with one of Beethoven's early works, which was previously considered a light two-movement Sonata for piano (WoO 51), and now is designated as two pieces for orphica, an instrument invented in 1795 by Karl Leopold Röllig. In the letter first published here and written by count A. K. Razumovsky to Chancellor I. A. Osterman on September 5/16, 1795, the orphica is recommended for acquisition by the Russian court. We may suggest that the new instrument was discussed in the family and friendly circle of count Razumovsky. Perhaps among the "men of taste" to whom the count refers might be the young Beethoven.

Keywords: Beethoven; piano sonata WoO 51; orphica; Count A. K. Razumovsky.

 

Valery Berezin (Moscow). Zametki o frantsuzskom orkestre vremen Ljudovika XIV / Notes on the French orchestra during Louis XIV’s reign (pp. 20–34)

The article focuses on the main features of French baroque orchestra during the Louis XIV’s reign. This orchestra was an exceptionally unique artistic phenomenon, but it was really underrated by musicologists for a long time. The orchestra is based on special French violins of five types and sizes. The article analyzes their use in the score, techniques and methods of orchestration. Attention is also paid to the interpretation of wind instruments (flutes, oboes, bassoons, trumpets and horns). Various instrumental compositions and methods of their scoring are considered, as well as the main types of orchestration. This article is one of the first studies on the proposed topic in Russian.

Keywords: orchestra; Baroque; the reign of Louis XIV; orchestration in the 17th century; French violins; baroque wind instruments.

 

Starinnaya muzyka № 2 (88) 2020

Mikhail Saponov (Moscow). Lyubekskij probel v biografii J. S. Bakha: predposylki i posledstviya / The Lubeck lacuna in Johann Sebastian Bach’s biography: background and implication

The documentary sources concerning the data of Johann Sebastian Bach’s early years (1705–1706) are taken into consideration anew in order to discuss circumstances preceding and following the composer’s well known pilgrimage from Arnstadt to Lubeck and, on the other hand, his alleged intention as declared in the obituary of 1754, to go deeply and listen more attentively (zubehorchen) to Dietrich Buxtehude’s organ playing. Some necessary corrections are undertaken in the course of consideration of Bach’s purpose “to adopt (zubegreiffen) something for his art”. New interpretation of the well-known expression “Zippel Fagottist” is suggested according to 18th-century school-slang glossaries. The article contains also some new translations of Bach sources.

Keywords: Johann Sebastian Bach; Buxtehude; Geyersbach; biographical source studies; Lubeck; Zippel-Fagottist; north German organ tradition.

Yuri Bocharov (Moscow). K voprosu o makrostrukturakh v instrumental’noj muzyke epokhi barokko / Macrostructures in Baroque instrumental music

The article focuses on structures of collections of instrumental works in the Baroque era. The author introduces and argues the concepts of baroque opus and macrostructure. He also gives a typology of macrostructures.

Keywords: Baroque; instrumental music; opus; macrostructure; typology of musical forms.

Alexei Panov, Ivan Rozanoff (St Petersburg). Ot klavira k pianoforte. Postanovka ruk i posadka za instrumentom v poslednej treti XVIII – nachale XIX veka / From the Clavier to Pianoforte. On the setting of the hands and toucher in the last third of the 18th and early 19th centuries

The article discusses the recommendations of G. S. Löhlein, N. Pasquali, J. S. Petri, D. G. Türk, and others, regarding the proper position of hands and the touch in playing the clavier and pianoforte. The paper contains a critical revision of Russian and English translations of historical sources.

Keywords: clavier; pianoforte; historically informed performance practice; G. S. Löhlein; N. Pasquali; J. S. Petri; D. G. Türk; touch; setting the hands.

 

Starinnaya muzyka № 1 (87) 2020

Valery Berezin (Moscow). Kratkoe zhizneopisanie znamenitogo kompositora Mishelya-Rishara Delalanda, sostavlennoe ego pochitatelem po vospominaniyam i documentam trista let spustya / A brief biography of the famous composer Michel-Richard Delaland, compiled by his admirer from memoirs and documents three hundred years later

A brief biography of Michel-Richard Delalandе is a tribute to the outstanding composer, the head of the Chapel and Chamber music of Louis XIV, author of about 80 large motets, numerous orchestral works and ballets. Delalande came from lower social strata, but the king loved his talented musician and always recognized his talent and achievements. This essay is one of the first publications about Delalande in Russian.

Keywords: Delalande; Chapelle; sous-maître; Louis XIV; French Baroque music.

Alexei Panov, Ivan Rozanoff (St Petersburg). O postanovke ruk i tushe klaviristov vremen K. Ph. E. Bacha / On the setting of the hands and toucher of the German clavierists of C. P. E. Bach’s era

The article discusses the recommendations of C. P. E. Bach, F. W. Marpurg, G. F. Wolf, and others, regarding the proper position of hands and the Clavier touch in playing on this instrument. The paper contains a critical revision of Russian and English translations of historical sources. Numerous inaccuracies found in the works of modern scholars who deal with the explanation of performance instructions recommended by the German clavierists have been shown and considered.

Keywords: Clavier; historically informed performance practice; C. Ph. E. Bach; F. W. Marpurg; G. F. Wolf; touch; setting the hands.

Irina Kryazheva (Moscow). Muzyka na sluzhbe vlasti: ispanskie korolevskie kapelly v XVI veke / Music in the service of power: the Spanish royal chapels in the 16th century

The article discusses the nature of the functioning of court chapels in Spain in the 16th century. The significance of this musical institute is due to a number of factors, both artistic and aesthetic, as well as political. The task of the chapel musicians was related to the formation of an elevated image of power. In the process of creating the special status of the chapel, a significant role was played by the influence of the Flemish traditions, which gained dominant importance during the reign of the Spanish Habsburgs – Charles V and Philip II.

Keywords: Renaissance; Spainisg royal court; court chapel; Charles V; Philip II.

Vladislav Devutsky, Natella Kazarian (Voronezh). Bach or Gesualdo?

The article discusses three historically important directions in the formation of the European high-altitude system, the personified by the work of Giovanni Palestrina (diatonic, natural harmony), Heinrich Isaac and Orlando Lasso (the formation of elements of the tonal-functional organization), as well as Cipriano de Rore, Nicola Vicentino, Luca Marenzio, Carlo Gesualdo (free-chromatic, hyperchromatic system). The methods of analysis of hyperchromatic
harmony in the madrigals of Carlo Gesualdo are shown.

Keywords: Palestrina; Gesualdo; Bach; harmony; tonality; madrigal.

 

Starinnaya muzyka № 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

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

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; 18^th-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

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 d zapadnoj liturgicheskoj monodii: problema ritma / Melody and poetic text in the Western liturgical monody: the problem of rhythm

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.

 

Starinnaya muzyka № 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.

 

Starinnaya muzyka № 2 (84) 2019

Larissa Kirillina (Moscow). Novye shtrikhi k biographii Bethovena / New touches to Beethoven’s biography

The article deals with Beethoven’s letter from September 17, 1795, sent from Vienna to his friend Heinrich von Struve (1770—1850) in St. Petersburg. Struve, like his father and brothers, was a diplomat in Russian service. This important letter, revealed in Hamburg only in 2012, was partly published in the auction catalog of the “J. A. Stargardt” trading house. From 2018 it belongs to Beethoven Archive in Bonn and can be viewed on the website of the Beethoven-Haus (NE 375). 

The first translation of the full text of this letter into Russian is supplied with detailed commentary concerning Struve’s family, the idealistic worldview of the young Beethoven and his Bonn friends, his metaphysical approach to death, expressed both in words and in music, and his ambivalent attitude toward Russia, “a cold country where humanity is appreciated less than it deserves” (quotation from the letter), but also a possible first point of Beethoven’s unfulfilled tour plans.      

Keywords: Ludwig van Beethoven; Heinrich von Struve; Bonn; Russia; diplomatic service; letter; autograph; Beethoven-Haus.

 

Marina Girfanova (Kazan). “Roman o Fovele” s muzykal’nymi vstavkami: k pobleme muzykal’no-smyslovykh svyazei / “Roman de Fauvel” with musical interpolations: to the question of musical semantic links 

The article deals with Roman de Fauvel with musical interpolations (ca. 1317–1318), which continues the tradition of medieval French literature with the inclusion of lyric poetry. The author explores the through musical and semantic lines of the novel connecting musical inserts at distance. Anonymous motet Trahunt in precipicia – An, Diex! Ou pora ge trover – Displicebat ei from Royal library of Belgium in Brussels (MS 19606) is considered as original source for one of such through lines. 

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

 

Galina Petrova (St. Petersburg).  Service "form" of the musician as a historical and cultural document in the first half of the 19th century 

On the basis of numerous personal files of Russian musicians from Directorate of Imperial Theaters archive the author describes features of contracts of foreign virtuoso musicians who were on service in St. Petersburg in the first half of the 19th century. The archival documents studied in historical and cultural aspect allow to fill some gaps in the history of orchestra of the first half the 19th century as an institute.

Keywords: musician, orchestra, contract, opera, Directorate of Russian Imperial theaters; opera; concert. 

 

Yuri Bocharov (Moscow). Razmyshlenija o Gajdne / Thoughts on Haydn 

Review of the book "Joseph Haydn. Personality. Creativity. Interpretation" (ed. by Alexander M. Merkulov), published in 2018 by Deka-VS publishing house. The book contains  over 1000 various statements about Joseph Haydn and his music (since the last quarter of the 18th century and up to our days). It is recommended by Educational and methodical association of higher educational institutions of the Russian Federation as a training manual for conservatory students.

Keywords: Joseph Haydn; 18th century music; symphony, sonata; performance practice.

 

Starinnaya muzyka № 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

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

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

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

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.

 

Starinnaya muzyka № 3–4 (81–82) 2018

Yuri Bocharov (Moscow). Ob epokhe barokko i ejo periodizatsii / About the Baroque era in music and its division into periods

The author defines the most important features of the Baroque era in the history of music and considers various approaches to the division of this era into several periods in historical musicology. He also offers his own option of such division considering not only evolution of music style, but also the most important events of the European history of the 17^th and 18^th centuries.

Keywords: Western music history; the Baroque era; periodization.

 

Mikhail Saponov (Moscow). Stilevoj quodlibet ili nachalo puti? Otrocheskie sochinenuja J. S. Bacha v sobranii J. G. Neimeistera / The style quodlibet or the beginning of a career? Youthful works by J. S. Bach in the Neumeister Collection

The author describes early organ chorals of Bach from Neimeister Collecton which was discovered by Chr. Wolff in the Yale University Library (USA). He also provides some biographic information about Johann Gottfried Neumeister (1756–1840) who made this Collection of 82 organ chorales by German baroque composers.

Keywords: J.S. Bach; Neumeister Collection; organ chorales; Baroque music.

 

Yulia Moskva (Moscow). Neizvestnye fragmenty latinskoj pevcheskoj rukopisi iz Rossijskogo nazional’nogo muzeja muzyki / Unknown fragments of Latine chant manusctipt from The Russian Museum of Musical Culture

Article is devoted to unknown fragments of the musical and liturgical manuscript from the Russian national museum of music in Moscow. The paleographic analysis and studying of the source allowed to establish a type of the whole manuscript book, its contents, structure, origin and age. These fragments were a part the Franciscan full Antiphonary of Officium which was made between 1450 and 1563.

Keywords: The Franciscan Order; formular; antiphoner; sanctorale; reim office; quadrat notation.

Valery Berezin (Moscow). Malaja isrorija v izuchenii Bol’shoj muzyki / La petite histoire in studying of Great music

The traditional history studies the main lines of movement of countries and peoples, international relations, wars, revolutions and similar major events. La petite histoire highlights the details of everyday life and family relationships, daily needs and interests, clarifies the circumstances essential for the life of a group or individual character. The article analyzes the formation and features of the genre of la petite histoire, its methodology, promising for musical and historical research.

Key words: La petite histoire; history of music; methodology of historical musicology.
 

Starinnaya muzyka № 2 (80) 2018

Valery Berezin (Moscow). Ustavy i pravila frantsuzskikh musical’nykh korporatsij XIV–XVIII vekov / Statutes and rules of the French music corporations from the 14^th to the 18^th century

The paper includes six statutes of music corporations, which regulated everyday life of French musicians in Paris, Orléans and Bordeaux during the Ancien régime. These texts are accompanied by the necessary comments and an introductory article explaining the meaning and characteristics of corporate activities.

Keywords: professional corporation; statutes; French musical culture.

 

Yuri Bocharov (Moscow). Na puti k sistematizatsii form instrumental’noj muzyki epokhi barokko / To the systematization of musical forms in Baroque instrumental music

The paper is devoted to a new systematization of instrumental music forms in the Baroque era. According to the typology offered by the author all Baroque musical forms can be divided into three differing groups: monostuctural, polystructural and macrostructural compositions. The author also describes in detail the main types of monostructural compositions.

Keywords: musical form; instrumental music; The Baroque era.

 

Georg Philipp Telemann. “Avtobiografitscheskaya” poema pamyati Luizy Telemann / Autobiographical poem in memory of Louise Telemann. Translated and commented by S. Nikiforov

The paper presents translation in Russian of Telemann’s poem in memory of his wife written after her untimely death in 1711. The translation is accompanied by introductory article and necessary comments.

Keywords: Georg Philipp Teleman; Louise Telemann (née Eberlin); memorial poem; translation; comments.

 

Galina Petrova (St. Petersburg). Мuzykal’noe puteshestvie peterburgskogo kapel’meistera Viktora-Iosifa Kazhinskogo // Musical travel of the St. Petersburg Kapellmeister W.-J. Każyński

The paper is devoted to the description of a musical travel across Germany in 1844 of the young Polish musician Wiktor-Josef Każyński as the musical secretary of the Russian violinist and composer Alexei F. Lvov. In the Travelling notes published upon return to St. Petersburg, Każyński reports about the impressions of this trip, paying particular attention to events of musical life and discussing both modern music, and works of composers of the past.

Keywords: Wiktor Każyński; Alexei F. Lvov; Gaspare Spontini; Karol Lipiński; European opera; Russian literary magazines.

 

Starinnaya muzyka № 1 (79) 2018

Natalia Naumova (Kazan). Korol’ Genrikh VIII – muzykant / King Henry VIII as a musician

The article is about musical activity of King Henry VIII of England. According historical sources Henry VIII played many instruments and even composed music. 33 his secular vocal and instrumental composition are kept in the so-called Henry VIII Manuscript. Some of Henry VIII’s part-songs are considered in the article. Among them are reworked chansons of Jacob Obrecht, Loyset Compere and other composers.

Keywords: Henry VIII; English music; secular part-songs; Henry VIII Manuscript.

 

Anna Bulycheva (Moscow). Ivan Khorzhevskij – violonchelist i kompositor? / Ivan Horzevski, cellist and composer

The article covers the polychoral liturgical works by Ivan Horzevski composed in 1750s. The complete list of Horzevski’s choruses is compiled, together with the references to manuscript copies. The hypothesis of the article consists in identification the composer with his contemporary and namesake, one of the best Russian cellists of the 18th century. The tentative biography of the musician is reconstructed.

Keywords: Ivan Horzevski; Russian Baroque music; Court orchestra; partes concerto; cori spezzati.

 

Julia Moskvina (Moscow). Motet Zhoskena Miserere mei Deus i ego material v sochineniyakh Palestriny, Lasso i Guayula / Josquin’s Miserere mei Deus and its influence on Palestrina, Lasso and Hoyoul works. The issue of musical borrowings

The author consider the practice of thematic communications between various compositions of Renaissance in the case of Josquin’s Miserere mei Deus and several motets by Palestrina, Orlando Lasso and Balduin Hoyoul. These three masters borrowed musical material of Josquin’s Miserere to emphasize the idea of repentance.

Keywords: Josquin; Palestrina; Orlando Lasso; Balduin Hoyoul; Miserere; motet; musical borrowings.

 

Maryna Riznichenko (Moscow). Traktat G. Stokerusa De Musica Verbali Libri Duo i problema vzaimodeistviya teksta i muzyki v sochineniakh T. L. de Viktorii (1548–1611) / G. Stoquerus’s treatise De musica verbali libri duo and the problem of relations between the text and music in T. L. de Victoria’s works

The author describes T. L. de Victoria’s compositions, according to the ideas of right balance between the text and music in polyphonic compositions which were considered in a number of Renaissance theoretical treatises, including De musica verbali libri duo of G. Stokerus. Results of the research demonstrate that Victoria consistently used the methods described in the treatise (including methods of "musical rhetoric") in order to reach clear perception of the text in the polyphonic compositions.

Keywords: T. L. de Victoria; G. Stoquerus; Renaissance church music; polyphonic works; theoretical treatises.

 

Starinnaya muzyka № 4 (78) 2017

Yuri Bocharov (Moscow). K voprosu o sistematizatsii form instrumental’noj muzyki epokhi barokko / To a question of systematization for Baroque instrumental music forms

The article deals with some versions of systematization for Baroque instrumental music forms presented in the Russian musicological literature of the late 20th and early 21st century. As a result, the author concluded that problem of such systematization remains relevant for further studying.

Keywords: musical form; systematization; instrumental music; Baroque music.
 

Valery Berezin (Moscow). “Akademicheskie rassuzhdemiya o tom, chto tanets sovershenno ne nuzhdaetsya v muzyke”. Konflikt frantsuzskikh menetrie s Korolevskoj akademiej tantsa / “The academic argument that dance does not need music”. The conflict between French minstrels and the Royal Academy of dance

Based on the original 17 th century documents, the author describes the circumstances of a long struggle over the right to teaching dance between the Parisian corporation of musicians (Confrerie de Saint-Julien) and the Royal Academy of dance founded in 1662 by Louis XIV.

Keywords: Guillaume Dumanoir; Confrerie de Saint-Julien; Louis XIV; violine; dance; Royal Academy of dance.
 

Anna Pastushkova (Moscow). Surdiny v partiturakh Antonio Vivaldi / Mutes in Antonio Vivaldi’s scores

The article discusses the baroque methods of mute’s use for string and wind instruments in Antonio Vivaldi’s scores, in contrast with their use in later epochs. Composer’s instructions (con Sordini, con Piombi) are transcribed and analyzed, and the main roles of mutes are argued such as achieving the desired sound balance and imaging the affects.

Keywords: Vivaldi; mutes; affects; Baroque music; opera, concerto.

Natalia Ostroumova (Moscow). Filosof na Gamburgskoj stsene: “Terpelivyj Sokrat” G. Ph. Telemana / The philosopher on the Hamburg stage: G. Ph. Telemann’s “Der geduldige Sokrates”

This article is devoted to the G. Ph. Telemann’s “Der geduldige Sokrates” which successful premiere in January, 1721 in Hamburg promoted the moving of the composer to this city. The author provides various information about the opera (summary of the libretto, features of the dramatic form and musical composition, various style tendencies etc). She also pays special attention to the important place of this work both in Telemann’s creative heritage, and in the history of the German opera in the Baroque era.

Keywords: Telemann; “Der geduldige Sokrates”; German opera; Hamburg; Oper am Gänsemarkt.
 

Starinnaya muzyka № 3 (77) 2017

Irina Susidko (Professor of Gnessin Russian Academy of Music; Moscow, Russia). Kristina Shvedskaya – pervaya koroleva opery / Christina of Sweden – the First Opera Queen

The article deals with Queen Christina of Sweden (1626–1689) and her role in the development of the opera in the second half of the 17^th century. The majority of information is mentioned here on Russian for the first time – for example, the celebration in occasion of Christina’s arrival in Rome (1655), the theatre performances given in her honor, the composers and librettists who collaborated with her. The Christina’s participation in establishing of the first Roman public theater Tordinona is also described in details as well as her influence on the flourishing of private theatrical producing in that time.

Keywords: Christina of Sweden; Barberini family; the Roman Baroque opera; tragicomedy; Tordinona.

 

Nina Pilipenko (Assistant Professor of Gnessin Russian Academy of Music; Moscow, Russia). Topos srazheniya v evropejskoj opere kontsa 18 – nachala 19 veka: batal’nye szeny i voennye fanfary / Military topic in the European opera of the late 18^th – early 19^th century: battle scenes and military fanfares

The article deals with the battle scenes in the late 18^th – early 19^th century opera and the special features of their musical setting. The most opera battles of this period contain fanfare as a basis of the orchestral texture. Fanfares may appear in a characteristic rhythmic pattern, and as solo trumpet calls. These calls have usually practical origins traced back to the actually existing military fanfares. The article discusses some of such fanfare quotations in the opera battle scenes.

Keywords: opera, battle scenes, fanfare, L. Cherubini, J. S. Mayr, F. Schubert.

 

Elena Ryzhkova (post-graduate student of Ural State Conservatory; Yekaterinburg, Russia). Iz istorii Gabsburgskoy pridvornoy kapelly v period pravleniya Rudolfa II / Habsburg Court Chapel in the reign of Rudolph II

The Habsburg court chapel moving to Prague in the reign of Rudolph II became important event in musical life of Bohemia. The author describes the status of this chapel, its structure, functions, repertoire, leading musicians and administrative board. The special role of Jacob Chimarrheus in management of the chapel is noted.

Keywords: Rudolf II; Habsburg Court Chapel; Rudolphinian Prague; court musicians; Jacob Chimarrhaeus

 

Zalina Mityukova (post-graduate student of Kazan State Conservatory; Kazan, Russia). Carlo Cotumacci: pravila i printsipy partimenti / Carlo Cotumacci: the rules and principles of partimenti

The article focuses on the 18^th century treatise “Principi e Regole di Partimenti…” by Carlo Cotumacci who was the leading master of the Neapolitan partimento tradition. Theoretical part of this work distinguishes it from many other partimenti sources of that time. The treatise presents the Cotumacci’s teaching method and provides with reliable information on the partimento practice.

Keywords: Carlo Cotumacci; partimento; improvisation; Neapolitan school; keyboard music.

 

Anna Bulycheva (Assistant Professor of Tchaikovsky  Moscow State Conservatory; Moscow). Kakoj dolzhna byt’ sovremennaya biografiya / What should an actual biographic study be like?

The paper reviews the new biography of George Frideric Handel written by Larissa Kirillina. This book stands at the junction of scholarly and popular genre, and Handel’s life is described through his works

Keywords: Handel; biography; 18^th century music; iconography.

 

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 17–18^th Centuries and Present” which took place in the Kazan conservatory on March 30, 2017.

Key words: musicology; conference; music of 17–18^th 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 17^th – the first half of the 18^th centuries

The article deals with expressive possibilities of modes and tonalities in the music of stage dances by French composers of 17^th – the first half of the 18^th 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 18^th 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 19^th 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 18^th 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 14^th 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 14^th 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 20^th 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, 1593–1640 (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.