Popov Valeriy S.
The article is a fragment of the 1st chapter of the book The Human Voice of the Bassoon, which is now ready to be published. The article contains the information about the bassoon parts in the musical literature of the 19th-20th centuries such as opera&symphony scores, chamber ensembles and bassoon concertos with the orchestra in the music by W. A. Mozart, G. Verdi, N. Paganini, L. van Beethoven, H. Berlios, P.l. Tchaikovsky, I.F. Stravinsky, D.D. Schostakovich and others. The author contradicts to the wide spread in Russia opinion that the bassoon had a very modest function in the scores of the composers of the 19th century.
Fefelova Anna G.
The article describes the principles of interaction of the mytho-ritual basis and the music texts of two major opera cycles of the 19th century: Richard Wagner’s tetralogy “Der Ring des Nibelungen" and “Slavic tetralogy” of Nikolay Rimsky-Korsakov (“May Night”, “The Snow Maiden”, “Mlada”, “Christmas Eve”). The main attention is given to two areas: direct interaction with the musical material, which is considered on the material of the orchestral introductions to the operas, and indirectly - in the organization of the leitmotiv system of Slavic tetralogy as semiotic space. Vorspielen to the operas of Wagner’s “Ring” realize a similar type of mytho-logic in the musical texture, while Rimsky-Korsakov in his operas shows different options for interaction with as close Wagner (The Snowmaiden), and an opposite nature. In the analysis of leitmotiv system of Rimsky-Korsakov’s ritual operas the main criterion is the meaning that forms at the junction of the sacred, verbal and musical texts. This criterion reveals mythos-ritual based logic of organization of operas’ artistic space.
Gataullin Aleksandr A.
The author amalyzes the process of collective work of bayan-player and interpreter Friedrich Lips with the prominent contemporary composers, such as Sophia Gubaidullina, Edison Denisov, Vladislav Zolotarev and Sergei Berinsky. The paper is focused on the new palette of bayan sound resources which was discovered by Lips and provided the inspiration for distinguished works, of many composers.
Lagutina Elena V.
The paper covers unknown in Russia theoretical work «Harmonielehre» by H. Schenker, Austrian musical theorist from the beginning of the 20lh century. This work opens Schenker’s trilogy «Neue musikalische Theorien und Phantasien von einem Künstler» and is the first stage of Schenker’s theoretical conception, which explains its genesis. Material about harmony’s history and publication is generalized. Author pays special attention to consideration this work in context of harmony handbooks from end of the 19th - beginning of the 20th century. Comparative analysis from selected works by H. Riemann, E. Richter, L. Bussler, PI. Tchaykovskiy etc. for the purposes of structure, subject contents, community and difference between them and Schenker’s harmony is presented. On the basis of analysis author comes to the conclusion, that early Schenker’s work has high status for his unity of textbook, scientific research and historic-aesthetic essay. Schenker’s harmony is also of great value for his reproduction of fundamental harmony problems at that time and Schenker’s own original interpretation of musical phenomena.
Shchepkina Nadezhda A.
For the first time in the medieval musical studies, the repertory of Kalophonichymns which form the Office of the Major Feast honoring the Theotokos have been identified. The work deals with six unpublished manuscript sources dated by the 15th, 16th and 18lh centuries from the collections of Saint Petersburg depositories. The sources contain 15 compositions to the texts of the Entrance of the Theotokos hymn cycle. The author of the work has identified six hymnographers (melurgui) of the Byzantine and post-Byzantine periods, who wrote the music to the texts of the Entrance Feast hymns: Nicolaos Campana, John Kukuzelis, Xenos Koronis, Konstantinos Magoulis, Manuel Chrysaphes and Balasios the Priest. A special difficulty in the study of kalophonic hymns is their attribution to a canonical text, as the role of incipits in such hymns often belongs to medial or final cola of canonical texts. For their work, the hymn creators chose the most important genres of the festal hymn cycle: the ideomelon sticheron, the refrain to the 9th ode of the kanon,the heirmos of the 9th ode of the kanon.