Tverdokhlebova Oksana V.
The article is devoted to the performance of A. Caralani’s opera «La Wally» by the group of Italian theatres. Alongside with the analysis of this production (conductor - Francesco Ivan Ciampa, director - Nicola Berloffa, set designer - Fabio Cherstich, costume designer - Valeria Donata Betella) the article provides information on history of creation of the opera including the summary of its primary source - Wilhelmine von Hillern’s novel «Die Geier-Wally». At ﬁrst the scenic fate of Catalani’s last composition in the opera genre was successful, but over time “La Wally” descended from the stage and the number of its current stagings in Italy is extremely small. The author of the article tries to ﬁnd an explanation to this phenomenon, not only by quoting opinions of contemporaries of the composer and researchers of his creativity, but also by subjecting to analysis the dramaturgy and musical language of the work.
There are many majorities in China and each of them has some distinctive forms of art. Nearly all the nations have its own theatre performing art and the art of singing. Keeping its art, nation can preserve its own identity. In modern world due to the globalization process there is a strong tendency when cultural identity of many nations is under disappearing. Besides there are clear examples of preserving and developing national kinds of art related to national majnorities. They can be of interest and can inspire those who deal with the matter of preservings and revealings of different culture. In this article I will research and analysis characteristic traditional performing art Dabehn’cyuj of majnority Bai, who resident in region Dali province Ynunan of China, where has won his new life in Bai’ traditional musical theatre.
Bakshi Lyudmila S.
Creativity of N.N. Sidelnikov is considered in the context of development of Soviet art of 1960-1980s. For example, his essay identiﬁes the main features of the style and thinking of the composer: the search for national identity in the context of updating of the language of music and fascination with the avant-garde, the development of traditions of Russian musical culture, the inﬂuence of poetry on the style and thinking of the composer.
Akparova Galiya T.
In the work of the Kazakh composers, the piano prelude is represented by few samples. The purpose of the article is to reveal the peculiarities of the genre and style interpretation of the piano preludes of the Kazakh composers. The work reveals the features of the content and composition of the prelude as a genre. There are analyzed piano preludes of Kazakh composers, such as K. Kuzhamyarov, G. Zhubanova, T. Kazhgaliyev from the point of view of the interpretation of the genre. New features in the musical content of preludes are revealed. The genre of piano prelude is studied as a holistic phenomenon. The status of novelty is the very formulation of the problem - interaction of Western European and Kazakh composition art in the genre of prelude.
Latyshev Nikolay A.
The present paper commemorates the memorable date of death of A.P. Borodin and is dedicated to one of two unﬁnished works by great Russian composer - his third symphony. This article is the second part of the overall research focusing on Symphony No.3, it analyzes the symphony’s hand-written music manuscripts that belong to A.K. Glazunov, who completed two movements of the piece known to date. The above mentioned manuscripts are stored in the archives of The St. Petersburg State Conservatory and The National Library of Russia. The current article is based on the above mentioned manuscripts and studies the speciﬁcs of Glazunov’s creative work on Borodin’s original materials, i.e. drafting a piano reduction and a compressed score, as well as creating a full-sized orchestral score of the symphony. The article analyzes the characteristic features of Glazunov’s writing and his score notation, as well as studies the speciﬁcs of composer’s corrections and ﬁxes, including the time period of when various stages of his work had happened. One of the primarily focuses of this article is the symphony’s orchestration and its conception of tempos. N.A. Rimsky-Korsakov himself actively participated in those matters and left an array of comments in Glazunov’s manuscripts. Based on Glazunov’s hand-written score this article studies the performance intentions of both composers, including such details as a number of string players used and a choice of meters depending on conducting preferences in particular parts of the symphony.