Joseph Derffel - а court pianist of the Grand Duchess Elena Pavlovnа and а correspondent of Hector Berlioz

Moiseev Grigory A.

The relevance of the study and its scientific novelty are determined by the fact that the biography of the austrian musician Joseph Derffel (1823-1884), the court pianist of Grand Duchess Elena Pavlovna and the correspondent of Hector Berlioz, is reconstructed for the first time. The research hypothesis consists, first, in substantiating the interaction of Russian court musical culture and metropolitan concert life in the second half of the XIXth century; secondly, in the fact that in west european and russian berliosiana since the end of the XIX century and up to the present time there is an erroneous point of view according to which Berlioz’s «russian correspondent» is the leipzig publisher and musicologist Alfred Dörffel (1821-1905). The object of the study is Joseph Derffel’s creative biography, the subject of the study is Hector Berlioz’s letters for 1867-1868 (the period of the second russian tour of the composer). The purpose of research is to draw attention to the incorrect attribution of the addressee of Berlioz’s six letters and the erroneous comments in the academic publication «Correspondance générale», to identify the personality of Joseph Derffel as the true addressee of these letters, to return his figure to the history of music, to introduce into scientific circulation unknown and previously unpublished materials and documents - letters from Joseph Derffel to the Baroness Edithа von Rahden.

Stasys Vainiūnas Piano Pieces and Tradition of Romantic Piano Miniature

Milovanova Anastasia N.

The article is devoted to some aspects of romantic miniature’s evolution in the XX century. Namely, implement features of this genre in the cycles of the Lithuanian composer Stasys Vainiūnas. Creativity of Lithuanian artist isn’t well explored by Russian researchers. Meanwhile, the processes occurring in it with its modern sounding, the development of romanticism traditions, an appeal to national folklore, findings in the musical form and piano texture are very interesting both for researchers and for performers. This article discusses the connection of traditional and innovative features in Vainiūnas miniatures, especially his piano texture, melodic and harmonic language, cycle’s cohesiveness, drawing of folk music principles. It has been concluded that some components of the Lithuanian archaic folk songs (namely, texture, rhythm, polyphonic techniques, structure of vertical) used by Vainiūnas pertain to musical style of the mid-20th century (reliance on dissonant harmonies, multilayeredness, of piano texture, unusual combination of diatonic and chromatic), that gives the new features to the genre of romantic miniatures and the continuation of its development.

The bricolage principles in First String Quartet by Michael Nyman

Alekseeva Aleksandra Y.

The article examines the First String Quartet (1985) by contemporary British composer Michael Nyman. The piece by the contemporary composer which is considered to be the new for the Russian musicology makes its examination be of current importance. In his creative work he refers to different styles of music: Western music, folk music, pop-music, etc. The composer creates his own works by transforming borrowed material in different ways. The Nyman`s creative method is close to the creation of bricolage (term by C. Levi-Strauss): selecting elements from the original, organizing them into a system, and making a new work with appropriate forming tools. The article formulates the hypothesis of the existence of bricolage principles in Nyman`s First String Quartet. The piece is based on the three opuses: J. Bull`s Walsingham Variations, Second String Quartet by A. Schoenberg, A.North`s ‘Unchained melody’. At the end of the paper, with the borrowed sources being exposed to a close scrutiny, we draw a conclusion about the possibility to consider the First String Quartet in the context of bricolage use.

The Music of Leonid Sabaneev in His Contemporaries'' Critiques: On the Problem of Appreciation

Maksimenko Alexander O.

The name of L. Sabaneev has been on the periphery of musicians' interests for a long time. In the Soviet period a reputation for L. Sabaneev as an insignificant composer and scientist was created. His works have been criticized in the late 1920-s and then suppressed. The situation began to change in 2000 after some of his books and articled been republished and again entered the musicological discourse. However, Sabaneev’s musical art didn't receive any due attention in Russia. This cannot be said of the foreign musical world where beginning in 2012 three CDs with Sabaneev’s music have been released. His compositions received positive reviews from foreign critics but still didn't awake any interest for his music in his homeland. The article discusses the specifics of a situation in which L. Sabaneev’s figure turned up. The specificity of it is in that L. Sabaneev’s music received critics’ appraisal in Russia before his emigration in 1926, and immediately after that he became criticized and neglected. At that time appeared a false opinion that he was Scriabin’s imitator, and that opinion is still fairly widespread. The article seeks to demonstrate that that opinion is false, for which purpose the analysis of a number of critiques of different periods is made. Also, the article rises the problem of evaluating L. Sabaneev’s music by the contemporary musicians

To the problem of studying the joint laments in the music folklore of the Baltic and Finnish peoples (based on Northern Karelians and Seto wedding laments)

Shvetsova Vera A.

The article discusses problems of research of joint lamentations in Baltic-Finnish musical folklore. Material works are records wedding lamentations of the Northern Karelians and publish wedding laments Seto in a joint performance. In the wedding ritual of the Northern Karelians and Seto joint lamentations were accompanied by the most important ritual acts in the bride’s home before leaving to the groom. Apparently, the laments of the bride, performed several mourners, were binding in these traditions and served as musical token of the wedding. The author reveals the principles of coordination of verse and melody the lamentations of the Northern Karelians and Seto, which belong to forms with cell parameters of the organization (the term by B. B. Efimenkova). Condition joint performance of Northern Karelians and Seto laments is the sustainability of the poetic texts and the specific algorithm structure of the verse. Musical and poetic texts Northern Karelians and Seto joint lamentations presented in the form of rants (tirade) and rhythmic structures belong to the class of caesural forms.Relevant aspect of the study of joint lamentations is a comparative analysis of the poetic features verse and rhythmic structures Northern Karelians and Seto laments. This will allow to understand the level of generality of the two laments traditions as components of a single Baltic and Finnish culture.

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