The name of the Moscow composer Mikhail Bronner (1952) is quite well known in our country and abroad. Master of orchestral and choral writing, in the 1990-th years in his music he was first drawn to the accordion. Characterized by the fact that today the accordion has become a spokesman of main themes in the works by composer. He created more than 25 opuses with featuring accordion, including both solo works for the instrument and large-scale scores for accordion with children’s choir, chamber and symphonic orchestras. The instrument is an integral part of many works by M. Bronner, organically woven into the poetic and imaginative world of his music. In this article we consider the works for accordion by Mikhail Bronner from the point of view of author’s style and specifics of treatment of instrument.
The paper examines the problem of becoming a genre of choral concertos in Tatar music. The creator of the first choral concerto in Tatarstan was Sh.K. Sharifullin. An important role in the origin and development of the genre playedS.A. Kazatchkov - leader of students’ choir of Kazan N.G. Zhiganov State Conservatory. He worked closely with the composer and was the first who performed the spiritual Concerto for the choir «Munadzhaty». Students’ choir conducted byS.A. Kazachkov reached a high professional level, which allowed the composer to write his concerto using modern polyphonic technique. The article presents the memories of colleagues of S.A. Kazachkov who took part in the first performance of«Munadzhaty» about how was the process of co-creation of the composer and the conductor.
Article raises a number of issues in the study of the Russian opera heritage of the first half of the XIX century. The author focuses on forgotten and little-known composers’ names, on new and little-studied for musicology operas from «vaults» of Russian musical theatre, created by Russian and foreign composers D.A. Shelekhov («Genevieve Brabantskaya»), D.U. Struiskiy («Parasha- Siberian»), A. Sapienza («Ivan Tsarevich, Gold Helmet»), F. Sholz («Magic Rose») and others. Particularly emphasized the originality of artistic concept of opera works by A.N. Verstovsky and A.A. Alyabyev, reflecting the «autonomy» of their genre and stylistic searches. The author marked little-known historical («Babylon Ruins, or Celebration and Drop Giagfara Bermecida» byK. Cavos, «Jeanne d’Arc» by Z.A. Volkonskaya, «Tamerlane» by A. Sapienza, «Nidiy, or the Last Day of Pompeii» by K.U. Arnold) and fairy («Svetlana, or a Hundred Years in One Day» by W. Kately - K. Cavos) opera genres.
The author focuses on the problem of analyzing a piece of musical from standpoint of evolutionary synergetic paradigm. Synergetics provides knowledge about the nonlinear changing evolving systems, including the musical form, constantly balancing between chaos and order, and have fractal properties. From this point of view it is possible to follow the direction and dynamics of its changes, to model these processes and capture them graphically. The presence of golden-section corresponding to climax moment shows perfection and unity of form as a whole. At the end of the article we come to the conclusion that because the world is one, an adequate idea of it must be expressed in the unity of scientific knowledge. From this standpoint we consider musical form as structure / process in their interaction and development, based on logical alternation of order and chaos phases.
In this article we consider a performing comment to outstanding composition of world music literature - Chopin’s The Second Sonata (Op. 35 b-moll), proposed by one of the greatest teachers of our time, the People's artist of Russia, head of the Department of special piano of Moscow P.I. Tchaikovsky State Conservatory, professor Sergey Leonidovich Dorenskiy.The article reflects the views of S.L. Dorenskiy on general and special problems of interpretation: the stylistic aspects of the performance of music by Chopin as a whole, specific methods of work on The Second Sonata. We propose important recommendations concerning artistic concepts of sonata, articulation, attacking, shaping, agogics, dynamics, fingerings, etc.The article is written on the basis of material taken during the author’s interview with professor Sergey Leonidovich Dorenskiy.
The article presents the results of studies of some aspects of works by Russian composer Tatiana Georgievna Smirnova, due to the influence of traditions of polish music culture. Work continues the line of research works by the author on issues related to implementation in her compositions musical peculiarities of different cultures as one of the brightest and unique component of the creative personality of the composer. Special attention in the study was to find the keys to understanding Smirnova’s creativity, as the composer himself is not prone to verbal interpretation of his own works. In such works as «Romantic message and dedication to Chopin» and the cycle «Three Sonnets» we find out the traces communication with the Polish cultural traditions, which is mainly determined through a programmatic (with the internal literary plot laid in the music itself), literary sources as well as genre selection made by the composer.
Te Deum - famous Latin hymn (the IVth century) - has its parallel in the Orthodox Church service in the form of so-called laudatory song with old Church Slavonic text «We praise Thee, o God». Chant «We praise Thee, o God» is performed at the end of the thanksgiving prayer in the Week of Orthodoxy (the first Sunday of Great Lent) in the structure of the rite of Orthodoxy.We suggest that the Church Slavonic text «We praise Thee, o God» in the structure of the Triodion was the result of the translation of the Greek liturgical books into Slavonic by Cyril and Methodius in X-XI centuries. The article contains an information about the specifics of singing «We praise Thee, o God» with the melody of the Greek chant (third mode) and focuses on two of the most famous and most frequently performed laudatory concerts by D.S. Bortnyansky (Concerto F-dur for one choir and Concerto C-dur for two choirs).