Topilin Daniil I.
The article is devoted to the art of Scriabin, which is considered through the prism of philosophy of Russian cosmism. Such interpretation of music allows to represent the evolution of the composer’s idiom as a unified musical and aesthetic-philosophical substance.Research interest is directed at understanding of the transformation of music images that gradually go beyond the original scope of romantic feelings and reach “approachless worlds” of the space. From complex of earthy affects - self-affirmation, the pursuit of a breakthrough, ecstatic delight - Scriabin comes to complex of cosmic affects, unearthly feelings: cosmic life in the eternal longing for the infinity of the universe, cosmic death as a disappointment mysterial idea.
Karabanov Aleksey A.
In article continuing the first the main tendencies in the course of ideological fight in the pre-war USSR which have caused development and formation of a genre of a national anthem against a political turn from ideology of proletarian internationalism to ideology of the state patriotism and the state ideological order which has followed it are traced. Circumstances of emergence of “The song about party” of A.V. Alexandrov on words of V.I. Lebedev-Kumach who has become at first a party, and then and national anthem of the USSR and also competitive works of the leading Soviet composers D.D. Shostakovich, S.S. Prokofiev,R.M. Gliere, I.O. Dunayevsky and other authors presented to the state commission in 1943 are considered by the author. Historical circumstances, allowed the song of Alexandrov to express features of national consciousness and self-identification of the Soviet people and to rise up to the heights of a national anthem are shown. In the course of the historical and cultural analysis both archival materials, and modern researches, and also the numerous materials published on the Internet are attracted. On the basis of the considered data the conclusion about the predefiniteness of the choice of the government commission and circumstances accompanying him is drawn.
Bibikova Anna V.
The article is devoted to understanding the genesis of mass culture and its interrelation with the musical elite culture. It is shown that the mass musical culture by virtue of their characteristics, affecting the elite, able to change it radically. In this context, on the example of the conductor Symphony Orchestra is considered part of the creative person, as a carrier of culture and high standards of the keeper.
Grigoryeva Victoria G.
The article describes three singing styles of the Yakut traditional musical folklore: “jieretii yrya” (Sublime singing), “degeren yrya” (Orderly singing) and “uyulga yrya” (Introspection singing). If such terms as “jieretii” and “degeren” were shown in the middle of XX century then the term “uyulga” are being introduced by author of the article for definition singing type in ecstasy condition. Musical-expressive tools typical for these three styles are being studied as well. Particular attention is being paid to the timbre features of singing.
Verba Natalia I.
“Undine” by Albert Lortzing occupies a special place among the many operas about the sea maiden, written in the age of romanticism. On the one hand, the composer follows the tradition in ways of implementing images of the main characters. Lortzing appeals to a certain circle of intonational, timbral and orchestral solutions that characterize Sea Maiden, her rival, the Lord of water spirits and the knight. Expressive means used by the composer in the characterization of the main characters of his Opera, quite comparable with those resorted to by Hoffman, L’vov, Dargomyzhsky and other authors of various genres of works on similar subjects. Such a similar vector of composers’ creative searches is due to the archetypal nature of images and displayed in the numerous and extensive intertextual connections between “the mermaid” music.On the other hand, Lortzing puts his own accents, showing his special treatment of the story about Sea Maiden and demonstrating the paramount importance of the image of Kuleborn in the opera’s dramaturgy. The present article is devoted to the analysis of the image of the Lord of water spirits in the Lortzing’s opera, as well as the reasons which led the composer to such dramatic “shifts”. Attention is given to intonation, timbre and dramatic means of realization in the opera that the most important character.
Bezbakh Elena V.
This article describes the previously unexplored documentary evidence from the Russian archives of the domestic household composer of the 20th century, D.B. Kabalevsky. All materials courtesy of the daughter of the composer, Maria Dmitrievna Kabalevskaya - the main keeper of the epistolary heritage and his father’s diary. Survived to our days a large number of diaries and letters of Dmitry Borisovich. The author of this article therefore conceived a series of essays, which will highlight the new facts from life and creativity of composer, and identify unknown personality traits of Dmitry Borisovich, long hidden from the others. Basis I essay was a letter written by D.B. Kabalevsky his closest childhood friend, J.E. Shenger, February 15, 1943. The article deals with the history of dating Kabalevsky with Shenger, and describes their close and friendly relationship, which lasted more than half a century. In addition, the article tells us about the nature of the correspondence of Dmitry Borisovich with Shenger, which basically contains information on creative ideas of the composer, his professional affairs and interests. Letter dated February 15, 1943 reveals the key points in the life of D.B. Kabalevsky, at that time named the author of the message of “three blows of fate”. This information has not previously studied and documented in the literature. They allow you to recreate the true portrait of a leading national composer of the 20th century, D.B. Kabalevsky.