Krivoshey Irina M.
The article explores the role of biblical imagery, motifs, scenes in the formation of the poetics of vocal chamber music by Mussorgsky. It is shown that direct references to the Bible allow perceive ideas prayerful dialogue with God, the fall of the kingdom and eternal love in the songs. Emphasizes the fact that the prayer word and precedent names of Saul and the Shulamite play an important role in semantic and aesthetic organization composer’s texts. Тhe difficult crossing of author and biblical context is examined in the aspect of valued-semantic orientations of the Russian culture. The conclusion is done, that deep connections of Mussorgsky’s romances and Russian culture are formed by ideas about meaningfulness of eternal biblical values.
Danilova Yekaterina A.
This paper deals with the main editional rectifications, edited by Bach for the second version BWV 243 of Magnificat. The author also gives a comparison two version of the Magnificat and notes some new semantic accents, contributing to a more complete interpretation of sense of the Canticle and accented by Bach in the BWV 243. The composer’s corrections for comfortable performing and reflective gospel text reforms are analyzed; it is considered deeper by Bach given the opportunity. Information on sources of manuscripts, handwriting; the main reforms of instrumental composition of the first and the second version are studied; the results of studies А. Durr, R. Cammarota, R. Marshall are recruited. The numbering of parts of Magnificat and differences of editions is discusses. Also writtten to the first edition BWV 243a in 1811 I.F. Reichardt’s rezension is translated.
Tiron Ekaterina L.
Tuva-Toju are the indigenious small-numbered people of the North-East of Tuva. Traditional occupations of Toju are reindeer breeding, hunting and cattle breeding. The history of collecting of Toju folklore counts more than hundred years. Nonetheless special researches on Toju's folklore were lacking until recently. Our study is based on the materials of musical-ethnographic expeditions of Novosibirsk state conservatory at the turn of XX-XXI centuries headed by G.B. Sychenko. The author of the paper is focusing on the problem of systematic differentiation of two basic song genres of the traditional culture of Toju: yr and kozhamyk. The genre opposition is analyzed on different levels: semantics, prosody, syllabic rhythm, tempo, composition, modal organization. The opposition of two genres reveals itself on the basis of stability or mobility of a poetic text, and on the relations between verbal text and tune (melodic type or modal tune). The study reveales the similarities and differences between the two genres.
Sapegina Tatiana A.
The article is devoted to the first animated film by French director Alexandre Alexeïeff «Night on Bald Mountain» (1933), made with the use of the pinscreen technology he invented. In this film Alexeïeff attempted to create a moving illustration of Mussorgsky''s piece. «Night on Bald Mountain» extended his career of an illustrator, it was no accident that Alexeïeff defined a genre of the movie as “animated engraving”. The author focuses on Alexeïeff’s applying aesthetic principles and methods of work to create illustrations to a new artistic field, and on the subject and musical composition of the Mussorgsky’s work being related to their visual interpretation. The article investigates Alexeïeff’s creative process in both areas, identifies parallels between the imagery of the film and graphic works of the late 1920s, finds the elements of the score which he regarded as significant, analysing fragments of schemes of music Alexeïeff created to simplify the timing of film, compares sound and video sequences to explore relationships between the structure and logic of the movie and the musical development. Just as in book decorating Alexeïeff avoids literal following of the text and seeks to identify and convey its meaning, he is looking for the underlying message of the Mussorgsky’s music in his animated film. Although he appeals to stories of Gogol and Pushkin in some scenes, the film is made as the flow of images connected with Alexeïeff’s personal memories and associations. The development in “Night on Bald Mountain” is under its own rhythm and system of visual refrains, so the video serves as “counterpoint” to the sound.
Kalinina Ekaterina A.
Тhe article describes the problem of Ingmar Bergman’s relationship to the music of the XX century. It also reveals his cooperation with swedish composers such Erland von Koch, Eric Nurdgren and Karl-Birger Blomdahl. We make an analysis of the beginning scene of the film “Sawdust and Tinsel” and show how Bergman cooperate with Blumdahl during the filmmaking and how music combines with the visual component of the film. Very interesting problem is the correspondence of the musical score with the basic ideas of the director.
Glazkova Yulia V.
This article is devoted to one of the outstanding memberes of the French organ school of the twentieth century - a composer, church and concert organist, professor at the Paris Conservatory - Maurice Duruflé. The research covers the period of his studies with Ch. Tournemire, L. Vierne and P. Dukas, especially their creative relationship. We analyze the influence of Dukas`s pedagogy on the formation of Duruflé`s composer style. Observed effect on him by Ch. Tournemire - bright creative personality, the original composer and brilliant improviser, as well as the successor of the organ tradition of C. Frank. On the basis of numerous memories of the Duruflé, his colleagues and students the author of the paper analyzes the features of creative relationship M. Duruflé and L. Vierne, his influence on Duruflé`s fate and creativity, on his development as a professional organist, teacher and organ composer.
Reneva Nataliya S.
This article is devoted to investigation of the peculiar feature of Boulez’s analytical thought - numerical logic in rhythmical structures in Stravinsky’s ballet “The Rite of Spring”. The main source of this article is one of the Boulez’s biggest essays of the 1940-1950-s “Stravinsky demeure”. The operation process of numerical logic is explored on elements of Stravinsky’s rhythmical technique that Boulez determined as technique of rhythmical cells. As means of the numerical interdependence revealing in the ballet Boulez uses reduced recording of the rhythmical values in two types of numerical rows - vertical and horizontal. The result of such analysis is discovery of derivative nature of rhythmical structures in Stravinsky’s ballet, classical methods of serial technique and simple arithmetic operations applied to rhythmical values.
Lagutina Elena V.
The article is devoted to the relationship between Heinrich Schenker and Arnold Schoenberg, two contemporaries, who represent opposite poles of the Viennese musical society at the beginning of the twentieth century. In its historical aspect the research contains the complete collection of documents on the declared subject: diaries, letters and archival notes of both musicians. The Russian translation of marginal notes made by Schoenberg on the pages of Schenker´s books from the Viennese collection of the Arnold Schönberg Center is introduced to the academic community for the first time. The article brings out both the personal side of the relationship between Schenker and Schoenberg and the correlation of their philosophical, aesthetical views and theoretical conceptions. The comparison is based on the analyses of two Theories of Harmony (by Schenker, published in 1906, and by Schoenberg, 1911) and discovers unexpected (for a composer-innovator and a classical centrist theorist) similarities of their concepts, terminological parallels and intersection points. Thus a more clear and precise picture of the development of musical science in the twentieth century can be made.
Ganenko Nadezhda S.
The article is dedicated to the textual criticism study of the manuscripts of unpublished «Two triumphal choirs to enter guests» of Sergei Taneyev, first undertaken. As a result, textual analysis of autographs able to clarify and correct in some cases incorrect information (in the works S. Popov, G. Bernandt) on the composition of the choirs. Autograph of the first choir «Fidji» discovered and put into scientific circulation for the first time. Manuscript of the second choir «Euvclid» was first discussed in detail. The new facts of the history of the creating «Triumphal choirs», written for the unprofessional magazine «Zacholystie», is specially accentuated. Comparative analysis of the composer’s remarks in the manuscripts of choirs and other works for «Zacholystie» confirmed the correctness of the author’s dating of the second chorus of «Euvclid» -1879 - in contrast to the proposed Popov 1880 year. On the example of the «Two triumphal» choirsconsidered the features of design Taneyev manuscripts for «Zacholystie». Identified and analyzed in detail the author’s specific remarks in most of the works for «Zacholystie». Such, for example, inscriptions written on the first page of the manuscript: «Appendix to the Zacholystie (with year)» and «Collected works of Eu[chidon] N[evynosimov - Taneyev] (with the number of works)». Special attention is paid to the study of the peculiarities of composer’s creative process.
Fedorovskaya Natalia A.
In article, the features of creation in the musical by A.L. Webber «The Phantom of the Opera» the Pundjab lasso image - the death-dealing attribute of the protagonist are considered. It has been found that the main development of Phantom’s lasso image receives not through remarks of characters, action on a scene and the note-explanatory in the libretto, but through music and using of an is musical-rhetorical figure circulatio. The melodic line of this figure visually represents a circle, which embodies the Pundjab lasso; its intense intonations reflect fear before the Phantom’s possibilities. This musical structure shows as the Phantom throws the imaginary lasso over all the people in the Opera House, also it a destiny circle in which all characters of the musical are involved. Connection of the semantics of musical-rhetorical figure circulatio and the Phantom’s attribute promotes that Pundjab lasso is becomes one of the major symbols of «The Phantom of the Opera».