This article is devoted to medieval art. For example, a 13
In this article, in the light of interaction of the different composition schools, there is concerned the question of Igor Stravinsky’s relation to the works of the most prominent German composer of the XX century - Richard Strauss. Through the analysis of documental sources (letters, interviews, evidences of contemporaries) the author tries to reveal both zones of confrontation and points of contact between the art of the two composers, including a paradoxical intertextual parallels in the scores of «Salome» and «The Rite of Spring».
The article is devoted to the work of Irkutsk opera troupe, created in 1936 on the basis of East Siberian radio-committee. The troupe united the strong opera singers and ballet dancers, who arrived from the different cities of the country. The activity of association was operated by the conductor K.F. Brouwer (N.A. Rimsky-Korsakov's student). It is remarkable that some participants of the Irkutsk opera worked in the Bolshoi theater earlier. The activity of troupe was the brightest phenomenon in musical life of Eastern Siberia. It is quite probable that on the basis of this association the full-ﬂedged opera theater could be created. However the political repressions, which concerned the leading workers of association, prevented realization of this plan. The author of the present article for the ﬁrst time made an attempt of detailed studying of work of Irkutsk opera troupe. During research work in several state archives (RGALI, GAIO, GANIIO) was conducted. Besides, the connection with the participant of opera troupe was established. It is the ballet dancer Z.A. Monkovsky, living in St. Petersburg. He acquainted the author of article with unique documents from personal archive.
The article is devoted to the outstanding musician, organist, composer, public ﬁgure, Professor of the Paris Conservatory - Maurice Duruﬂé. In the introduction, discussed in detail the main sources available - both Russian and foreign which contain any information about Duruﬂé, with assessing the completeness and accuracy of this information. A list of these sources shows that the creativity of a musician is poorly studed, not only, in Russia, but also in his native France. The author writes about the career of a musician, some of the details of his biography, as well as gives a portrait of Duruﬂé-organist. The text contains statements of Duruﬂé, of his wife and colleague, Marie-Madeleine, and his students which show the opinion of the musician on the performance on the organ in general, as well as on the performance of its own organ works in particular.
This article is devoted to the role of the piano in O. Messiaen’s instrumental chamber works. Points about treatment of the piano, its functions and interaction with other instruments are considered. Special attention is paid to the realization of color representations by means of the piano. The author concludes that the piano in Messiaen’s chamber works is essential instrument in matters of possibilities of color representation. In the early opuses interaction between the piano and other instruments is based on a dialogue with the intonation and timbre imitation, that will revive in the later «Le merle noir». Starting with the «Quatuor pour la ﬁn du temps», the piano is opposed to his partners and characterized personality of texture, lack of shared themes. The piano of Messiaen’s mature period is the colorful depictive instrument intended to express different states, and therefore his treatment varies from absolutely non-percussion instrument to the intentionally percussion one.
Middle Volga and Ural regions are areas where many different ethnic groups and peoples have left traces. The main subjects of the research are the wedding rite as a part of the Mishar Tatars local musical folk tradition, and lamentation, which are deeply and organically connected with this ceremony.
This article is devoted to the problem of the realization of the mysteriological in the melodrama «Persephone» (1933-1934) by Igor Stravinsky, which was created in the neoclassical period of creativity. This attention by the composer to the mystery is typical for the musical culture in the twentieth century. The author explores the characteristics of the two models of mystery -the pagan rite of the ancient Greeks (the Eleusinian Mysteries) and the genre of Western European religious (Christian) theater of the Middle Ages. Particular attention is paid to some characteristic signs of each model of the mystery and their general, archetypal signs. The Comparative Approach is elected as the main method of analysis of the work. In addition to the models of the mystery also two literary sources are compared. It is a hymn «To Demeter» by Homer and the libretto by Andre Gide is based on the content of the hymn. Additional properties of the models of the mysteries are revealed through symbolic motives the Dream, the Vision, the Light and the Grain, are characterized with certain complexes of the musical means. The last two symbolic motives help to identify the archetypal features of the two models of the mystery.