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A. Schnittke. Three Poems by Viktor Schnittke

Tsvetkova Polina Y.

The article focuses on the analysis of the chamber-vocal cycle of Alfred Schnittke’s “Three Poems of Viktor Schnittke”. The author touches upon the chamber-vocal heritage of the composer, represented by early classical songs and compositions, written for the original cast, where the voice is often the part of the instrumental ensemble.The author introduces the unknown fact concerning the first performance of the “Three Poems of Viktor Schnittke” in Saratov, and also the event that prompted the composer to write this miniature. The portrait of Victor Schnittke - the poet, the translator and the journalist - is presented in the article. The three poems of the poet written in the German language and also translated into the Russian language are also presented in the article.The author researches the features of the genre of the poem with music in which the cycle is written, its musical drama which is based on the poetic text. It is noted that the proportion of the words and the music in the cycle demonstrates the careful attitude of the composer to the poetic line.For the first time in the article is given the holistic musicological analysis of the vocal cycle of Alfred Schnittke’s “Three Poems of Viktor Schnittke”. Special attention is paid to the problem of vocal performance.

Paradoxes of concert genre in the works of Sergey Berinsky

Zarodnyuk Oksana M.

The article presents Sergey Berinsky works written in the genre of concert and playing a significant role in his heritage. The philosophy of Nicholas Berdyaev, in the light of which the works of S. Berinsky are considered, occupies a special place among the composer spiritual constants. One of the main ideas of Berdyaev, the primacy of freedom, is especially close to the composer works, bringing paradoxical discovery into his pieces. An individual type of S. Berinsky concert thinking, which is organically connected with symphonization principles, is emphasized. Organization of form is presented in accordance with three types of time designated by Berdyaev: cosmic, historical and existential. This explains the unexpected compositional solutions, as well as identifies the author's «agronomic» principle of the sonata form and orchestral writing peculiarities.

Piano maker Johann Friedrich Schröder (1785-1852): 200th anniversary of the piano company «C. M. Schröder»

Sergeev Maxim V.

The relevance of the study and its scientific novelty is characterized by the fact that in year 2016 the piano-manufacturing company «C. M. Schröder» (St. Petersburg) celebrates 200 years since foundation. The materials on the activities of the German origin Russian piano maker J. F. Schröder (1785-1852) refute stereotypes about the place of his company in the Russian piano making structure of the first half of XIX century and pseudo-competition with firms J. F. Diederichs and J. Becker. This article discusses the possible reasons why J. F. Schröder workshop worked without official registration in the period 1816-1818, one of which could be temporary job in other city where piano craft workshop didn't exist. In the first years of J. F. Schröder`s workshop activity, he needed a distance from namesake-competitors C. R. Schröder and A. C. Schröder what required efforts from all three piano makers. Analysis of Schröder`s keyboards and their comparison with European pianos detects the high level of Russian pianos of the first half of XIX century that absorbed the best European piano making ideas.

Runo Singers of Elias Lonnrot

Moiseeva Valentina I.

This article offers a more thorough description of runo singers who Elias met during his folk tours. So far the information about them has been kept in scattered native sources, and in a more complete form, in M. Haavio’s book «The lattermost runo singers».The author has collected all known information and references about performers of folk songs and runos, who Lonnrot mentioned in his diaries, letters and reports for Finnish Literature Society. This publication appears to be a great value for ethnomusicologists, ethnographers and students who learn Karelian Finnish musical culture.Also the article allows to supplement the prevailing representation about life and art of the outstanding Finnish scientist, poet, linguist, folklorist of the 19th century, the author of Karelian Finnish epos «Kalevala» Elias Lonnrot.

Vladimir Mikhaylovich Kurlin - touches to the portrait of the Maestro

Fartushnyy Vitaliy P.

The article covers the personality of the outstanding musician of the 20th century Vladimir Mikhaylovich Kurlin and offers a brief overview of the most important publications on the artist and teacher, thus capturing the multiplicity of the interests of the hereditary Russian member of the intelligentsia, professor at the Leningrad Conservatory, who is for the first time shown in an informal setting. At the same time, it reveals the unique qualities of Kurlin as a performer, an oboist: the immensity of the coverage of the artistic phenomena, high academic manner based on solicitous attitude to the style and content, close attention to the sound («singing» with the instrument). It emphasizes the importance of the creative work of Kurlin for the formation and development of solo performance on wind instruments not only in Leningrad but also in the Soviet Union. The article draws attention to the methods of training oboists, which Kurlin bases on «benchmark» mastery of the oboe, that raise the problems of upbringing an actor, an artist-creator, who is able to convey all the diversity and depth of the artistic concepts to the listener. The article points out personal qualities, experience and intelligence as important components of Kurlin’s pedagogical skills. It also raises the problem of preserving the artistic legacy of the musician, mainly of the part that is related to the well-organized and classified, but unfound personal archive.

We play the quartetNot dull technique

Gotsdiner Mikihail A.

This article consists of two parts. The first one is devoted to the specific characteristics of quartet playing and the two main trends of ensemble performance. The author analyses the string quartet genre and draws attention to the fundamental differences between the quartet and the solo practice: particularly, its various methods of performing techniques: intonation, vibration, articulation, dynamics, etc. The author gives a detailed explanation of performing work from the conductor’s and director’s point of view; describes different functions of the music material between the quartet voices and within a single part. There is an example of the possible quartet repertoire for the beginning students.In the second part of the article there is a measure by measure analysis of the String Quartet in G Major, K 156 by Mozart; it also describes possible issues and difficulties which may arise during study of the music, especially among the beginners; the author provides the solutions for these issues and also describes the four varieties of Mozart’s minor mode. The article is addressed to the teachers of the quartet class and the performers-beginners of the string quartet.

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