Nikolaeva Svetlana Y.
The article covers one of the unique artistic phenomena of the Izhma Komi song tradition. Relying on the methods of modern ethnomusicology, the author reveals the structural and compositional features of the poetic texts and the tunes of the non-ritual improvisations, examines the coordination forms of the verbal and the musical, and also addresses the problem of improvisation in the traditional singing culture.
Shabalina Tatiana V.
The article is devoted to research of an original printed libretto of an unknown passion oratorio by G. Ph. Telemann «Jesus, als die untergehende Sonne» found at the National Library of Russia. A study of all the details of its print, a style of its design and peculiarities of the text gives evidence that the piece was performed on March 21, 1731, supposedly in Breslau at St. Bernhardin Church. It is demonstrated that on one hand, the discovered source reveals a new fact of Telemann's biography (a performance of his passion oratorio on Holy Wednesday 1731 in Silesia), on the other hand, it completely corresponds to circumstances of his activity in Hamburg in those years and wide popularity of his works in Breslau. Besides, one more large-scale piece is added to our knowledge, because it has been considered before that Telemann wrote six oratorios of this kind. Analysis of the content and poetical language of the newly found source, as well as comparison with other similar works allows to make a conclusion about its originality and high artistic merits. Finally it is underlined that the discovery contributes to the world science on the German musical culture of the 18th century.
Semeriaga Ivan V.
The relevance of the study and its scientiﬁc novelty are characterized by the fact that it attempts to analyze the unusual cases of using or not using the French horn in certain works and to ﬁnd explanations for these facts. The history of the origin and evolution of the French horn is an important and interesting aspect of instrumental science in general. According to the connoisseurs of the orchestra, the French horn has a huge sound palette and wide imaginative expressiveness, therefore it causes some surprise that sometimes composers, as if deliberately exclude it from the score or extremely restrict its use. The object of our study were two similar examples from the history of music, namely: "Requiem" V. A. Mozart and the "High Mass" I. S. Bach. The purpose of this work is an attempt to answer the question: why sometimes composers use the French horn very much in a work or refuse it altogether.
Davydova Anna A.
The relevance of a research is characterized by the fact that in it the main lines of style of D. Scarlatti which have found reﬂection in a tematizm his clavier sonatas are systematized speciﬁcs of a tematizm, his art advantages and historical value in the course of formation of a classical sonata form are revealed, evolution of a clavier tematizm of the composer from the point of view of formation of the homophonic and harmonious invoice and periodic structure is tracked. The scientiﬁc novelty of work is caused for the ﬁrst time the carried-out analysis of the process of semantic transformation of the general forms of movement which has led to material individualization, the description of the main types and structural solutions of a tematizm, his genre, impressive and other features. Scarlatti develops a new tematizm on the basis of the general forms of movement, such as descending and ascending gamut, the movement on chords sounds, wavy and turned, rehearsals on one sound, jumps with the subsequent ﬁlling, rise or descent on the extending and narrowed intervals, etc. However the composer ﬁnds something characteristic in their variations and combinations, individual and unique, individualizing a tematizm. In the creativity Scarlatti has gradually passed from polyphonic type of a tematizm with his motive-variation methods of development to homophonic harmoniously type and a method of thematic development. In subjects of his sonatas the important role of metro-rhythmic ratios begins to come to light and to be formed the frequency of statement of a musical thought which has resulted subsequently in prevalence of square constructions in classical forms.
Belousova Yana Yu.
Duality as an artistic reception determines the construction of the plot in many works of F. Dostoyevsky. As shown in the article, among them is the story "White Nights", where, in Nastenka's mind, there is a convergence of images of the Dreamer and her absent Bridegroom. The idea of duality is embodied and in the opera by Yu. Butsko. The composer introduced the double of the main character - the Young Man, he corresponds to the image of the Bridegroom, but resembles the Dreamer, as follows from the remarks Butsko, their similarity is manifested in the general musical and intonational vocabulary. An analysis of the libretto compiled by the composer from the text of the story, shows the repetitions made by the composer - doubling of speech, characteristic of the story "Double" and serving as an expression of the same idea. A new interpreted duality presence and in the production of "White Nights" by Yu. Alexandrov, where the Dostoevsky features are attached to the young man. The director entrusts the Young Man with the part of the Dreamer's party, turning into doubles the Author and his character.
Maslovskaya Tatyana Yu.
The article is devoted to the relationships between one of the most brilliant critics of the ﬁrst half of the 20th century L. Sabaneyev and A. Skryabin, especially close and fruitful in the last ﬁve years of the composer’s life. The experience of spiritual, creative and scientiﬁc understanding of the Skryabin’s world resulted in Sabaneyev’s best work «Memoirs of Skryabin» (1925). Written at the turn of his own life (in the next year Sabaneyev left Russia), the book became a farewell to the era of the Silver Age, with the Russian musical world and with the homeland. «Memoirs» (as well as the monograph «Skryabin» written in 1916) was aroused both by ecstatic responses (Rakhmaninov, Myaskovsky) and by bitter criticism, the echoes of which have not subsided to this day. After Skryabin’s death, Sabaneye’s creative and philosophical «dialogue» with his friend did not stop, ﬁnding an embodiment in articles, scientiﬁc research, two textbooks on the history of music, as well as in his own works (Skryabin’s piano sonata with a program from the poetic text of «Preliminary Action»). And the completion of it can be considered a grandiose cantata Apocalypse, the central composition not only of the emigrant age, but, perhaps, of Sabaneyev’s entire creative life - a tragic response to the intent of the Mystery of Skryabin.