Current issue

№ 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.


Abstracts and Keywords (p. 24)