"Boris Godunov"-1937: from the musical history of Moscow Art theatre

Naumov Alexander V.

The article devoted to Pushkin’s «Boris Godunov» staged by V. Nemirovich-Danchenko and S. Radlov with music by P. Tchesnokov and B. Asaf’ev in Moscow Art Theatre in 1935-1937th and based on archive sources reached in MAT museum. The main method of the study is the comparison the Regisseur’s declarations and their realization in composer’s scores. All the more interesting if you have in sight that composer mostly did not attend repetitions. It is also important to follow the way of both musicians to «Godunov» trough all their biographies, including the conductor practice, science and theatrical experience. That tragedy project was not finished lake several others in MAT earlier, but it leaved an important trace in subsequent «musical history» of the famous theatre and seriously marked it’s aesthetic for the future.

Composer’s method by L. Desyatnikov in the composition "Tracing Astor"

Rybalova Maria M.

The relevance of the study and its scientific novelty are characterized by the fact that it is the first time that it has analyzed the method of work by Desyatnikov with borrowed material on the example of his work "Tracing Astor". L. Desyatnikov is one of the leading Russian composers. Often in his works he shows already known predecessors' works through the prism of a particular historical era (for example, the play "As an old organist" is based on the work by F. Schubert "Organ-Grinder", also "Towards the Swan" - on the work by K. Saint-Saens "Swan"). As a result, a completely new composition is born, unlike the original prototype. The subject of this study is the genre and style features of the composition by L. Desyatnikov "Tracing Astor", based on the material of "Milongas for three" by the composer A. Piazzolla. The object of study is "Tracing Astor" by L. Desyatnikov, the creation of which the composer was inspired by A. Piazzolla's works. Desyatnikov gives his vision of the works of the Argentine Maestro, which appears in a new form. The purpose of the study is to identify and find out the features of the work by Desyatnikov with the borrowed material on the example of "Tracing Astor". The hypothesis of the study is to identify Desyatnikov’s composing pattern in the work under analysis as a paraphrasing.

Dialectics of archaic in the contemporary musical art of Kazakhstan in the mirror of the ideas of Eurasianism (on the example of cello compositions of contemporary composers)

Raimkulova Aktoty R., Jumaniyazova Raushan K.

The research is devoted to the transformation of archaic images in contemporary works of Kazakhstani composers for cello. Through analysis of the compositions by A. Raimkulova ( The Soul of Shaman ), S. Baiterekov ( Outlines of tangible ), A. Yershova ( Shaman’s wires ), T. Nildikeshev ( Misty Dreams’ Flow ) the connection between the content conception, expressed in the title or in the composer’s notes, and compositional techniques was traced. The concrete (shaman, ritual) or generalized sound images created by composers are characterized by such specific features as the connection of images of archaic sound (ethno sound) with modern techniques (spectral, sonoristic); timbre as the main mean of artistic expressiveness and form-building; timbre mimicry (most often through the transition " kobyz-cello "). Identified common features characterize many works of the avant-garde kind which embody the ideas of a humanistic, ecological nature, the search for common spiritual roots in the deep past of mankind, the idea of free travel across the continent (and wider - the world), people’s harmony with the nature, environment and society. Such content, embodied through the sound images of nomadic culture, is suggested to be generalized by the term " Eurasian neoarchaic " which characterizes both creative attitudes and specific compositional techniques.

Liszt and Henselt (Part II)

Skorbyashenskaya Оlga A.

The article is devoted to the comparative analyses of the performer, pedagogical & composer activity of Adolph von Henselt & Ferenz Liszt & based on the newspaper's & magazine's materials of that time, memoirs & reminiscences their pupils and also on the compare of the Henselt's & Liszt's transcriptions of the Overtures by K. M. von Weber for piano. "Competitions" of Liszt & Henselt took placed not at the reality, but on the space of the newspapers of that time and had very friendly character. The difference of the individuality of the both composers, which one can see, comparing their transcription of Weber's Overtures, only shade their affinity, their belongings to the same Weber's tradition. Polarity of their pedagogical types complemented teaching methods of the one & another, so they can often teaches the same pupils. The relevance of the article and its novelty are characterized by the new point of view of the research, in that performing, composer's and teacher's activity of Liszt deal with the context of the general tendentious of XIX century, comparing with the pedagogical, performing & composer's activity of A. von Henselt. The purpose of the research is to found of the main characteristics & oppositions of the romantic pianism.

To the question of the religious-philosophical views of S. Gubaidulina: literary parallels

Moskvina Olga A.

The article introduces the concept of Tolstoy Gubaidulina as one of the components of the branched out system of religious and philosophical views of the composer, which at the moment has not been reflected in special studies. Tolstoy Gubaidulina is treated as a free, extra-church interpretation of biblical truths, characteristic of creativity and the "philosophy of being" of late Tolstoy. In the system of proofs of Tolstoy's idea - musical and "humanitarian" arguments. The first concerns the code of the double concert "Two Paths", marked by a direct Tolstoyan debunking of religious doctrine (presented in the concert by an Orthodox bell-tower); "Humanitarian" aspect connects Gubaidulina's ideas with the classic Russian novel ("In croce"). It would seem that the point of divergence can be regarded as a relation to so-called mysticism, but Tolstoy and Gubaidulina in creativity (not in verbal pamphlets) interpret it as a kind of refraction of "eternal" themes, originally having a borderline nature. Thus, with reference to a certain body of works (instrumental works with a religious program), one can speak of Tolstoy Gubaidulina.

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