From the history of creation of the French Salomé by Richard Strauss

Degtyareva Natalia I.

This article is devoted to the history of creation of the little-known French version of the opera Salomé by Richard Strauss based on the original text of the Oscar Wildeʼs play. There are considered the main motives of correspondence between Richard Strauss and Romain Rolland connected with a process of working this version; there are described separate episodes in performing life of the opera.

In the way of «Vesna» (On the artistic interests of the Composer Stravinsky «The Rite of Spring»)

Lobanov Mikhail A.

In the article merged two story with names of artists, anyhow influenced the design of the “sacred Spring” by Stravinsky an d the musical incarnation of the famous ballet. In this connection, article names are Nicholas Roerich and M. Ciurlionis. In one case, the composer had only his impression of the painting with the artist he was not personally acquainted; in close cooperation with other recognized as Maître in Russian art of the early 20

Kazakh opera: 80 years later

Mosiyenko Dina M.

In this paper an attempt is made to evaluate the complex and, at the same time, extremely interesting 80-year-old way of development of the Kazakh opera. Indicated favorable historical and cultural conditions for the introduction of organic Opera (creativity zhyrau aitys and especially the organization of the first professional theater). In the evolution of Kazakh opera author identifies several stages. The most fruitful were 30-40 years: at this time were created the most favorite Kazakh opera «Kiz-Zhibek» by E. Brusilovsky (1934), «Abai» A.Zhubanov and L. Hamidi (1944) and «Birjan and Sarah» M. Tulebaev (1946). One of the main, often recurring themes in the Kazakh opera is love and death: the reunification of the young heroes of labor law prevents. Most of the works on this subject, in spite of catharsis, dictated by the laws of the Soviet theater, are based on the concept of the tragic. In the Kazakh opera created in Soviet times, today you can have revealed previously unrecognized religious overtones. For example, «Kiz-Zhibek» can be read as an allegory of a Sufi, and the opera «Abai» in the confl ict Abay - Zhirenshe we see the spiritual gulf in understanding the faith. In the process of seeking funds to create images of the characteristics of opera composers Kazakhstan often rely on the experience of Russian artists. This article examines the impact of P.I. Tchaikovsky, N.A. Rimsky-Korsakov, A.P. Borodin creativity M. Tulebaev. In conclusion, the author sees a positive trend for the development of the national opera in the opening two musical theaters - South Kazakhstan regional theater of opera and ballet in Shymkent (2008) and the State Opera and Ballet Theatre «Astana Opera» in Astana (2013). New theaters should encourage composers to create paintings of opera.

«Nestor among composers»: Antonio Salieri and his pupils

Khairullaev Viktor V.

Talented Italian composer of second half of the 18th - early 19th century, Antonio Salieri is known in the history of music, in addition to everything else, as an authoritative teacher. Salieri taught several subjects, including declamation, singing, theory of composition. According to various sources, he had raised from 60 to 80 students, among whom were musicians such as L. van Beethoven, F. Schubert, Liszt, I. Moscheles, the Mozart’s youngest son Franz Xaver Wolfgang, and many other composers, as well as prominent vocalists (Catarina Cavalieri, Maria Teresa Gassman). This article describes the teaching methods of Salieri, who were as close as possible to the methods of Florian Leopold Gassmann, Salieri’ s teacher. In addition, the proposed attempt to provide a complete image of the teacher-Salieri, including relationships Salieri with his students (known facts some disagreements between teacher and his wards, who nevertheless did not affect ¸ musicians respect to each other).

On some features of musical texture of farit yarullin’s compositions

Smirnova Elena M.

The article investigates the musical texture of Farit Yarullin’s compositions. The author is concerned with two main aspects of the problem: on the first hand the musical texture is regarded as one of the distinctive feature of individual composer’s style, on the other hand - as musical phenomenon in which the tendencies common for all Tatar composers take place. National peculiarity thus can be detected at different levels of the organization of the texture: in the structure (shape) of elements of the musical language, in the specific types of their correlation, in the principles of voice-leading, in the approaches to the construction of musical texture as a whole. There is an assumption in musical theory that national style in music depends on rhythm, harmony and melody as the main parameters of musical structure. The results obtained in the article showed that musical texture can regard as one of the most important features of national style in music also.

Opera work by «Wake» by Klaas de Vries as a mirror of processes and tendencies of contemporary musical art

Sanicheva Elizaveta V.

The article goes on the Dutch composer Klaas de Vries, his opera work «Wake» and the situation on contemporary music scene in the Netherlands as part of international music arena and many different influences coming from across musical Europe.

Some observations of the hierarchic arrangement of the closest tone system relations

Stanishevskiy Yaroslav I.

The problems of hierarchy of the relations between keys were of great importance in the music theory of Modern times. However, the similar matter was discussed in connection with other elements of harmony, first of all, chords and tones. Usually various tone system relations were arranged in several degrees of relationship. But some musicologists (for example, L. Euler, D. Kellner, J.L. Fuchs, H. Helmholtz, A.L. Spasskaya, E. Prout, H Riemann, G.L. Catoire, Yu.N. Tyulin, P. Hindemith and N.A. Garbouzov) considered the hierarchy of the relations is more detailed. The comparison of a number of systems of relationship (both between tonalities, and between sounds) reveals the similarity in the hierarchy of relations by different scientists. Despite the obvious distinction between such phenomena as a tone and a tonality it is possible to find some general regularities of the relationship which are partly connected with acoustics. The present article deals the concretization of this problem.

The Opera buffa «Bertoldo, Bertoldino e Cacasenno» on libretto by Carlo Goldoni: the question of authorship

Lutsker Pavel V.

Bertoldo, Bertoldino e Cacasenno was the first comic opera, which opened the Venetian era in the history of opera buffa. In contemporary dictionaries as its authors are considered Carlo Goldoni (text) and Vincenzo Ciampi (music). First undertaken in the article detailed review of the manuscript, preserved in the Estense Library in Modena, reveals that originally this opera was a pasticcio. Ciampi was just only one of the authors, writing for Venetian premiere 1749 less than half of the musical numbers. For the London production in 1755 he wrote some another numbers but still almost a quarter of the total represents somebody else’s insertions. The study of Bertoldo, Bertoldino e Cacasenno expands our understanding of opera buffa practice at an early stage of its history.

The sky disappeared: about Symphony № 3 by Sergey Berinsky

Popov Sergey S.

This article made a detailed analysis of the Third Symphony «The sky disappeared...» for bayan and symphony orchestra by Sergey Berinsky. The article includes analysis of the content of the composition, its genre identification. Symphony consists elements of concert genre; the article focuses on the phenomenon you-symphonic and concert signs, their ratio. The author research composer working with accordion and orchestra, the process of their ratio. Especially noteworthy are the dramaturgy and the form works as well as his side intonation sphere. On these aspects in the article put the main emphasis. The Third Symphony surprises with its depth and scale. As its composer, it is full of paradoxes, in this work the author attempts to understand this.

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