Music Journal of Northern Europe № 4(24), 2020

Contents

Irina V. Koposova, Anna V. Kubrina
CONCERTO FOR PIANO AND ORCHESTRA NO. 1 BY EINAR ENGLUND IN THE LIGHT OF THE SPECIFICS OF FINNISH NEOCLASSICISM | 1-18

Alexandra I. Smirnova, Lyubov A. Kupets
RUSSIAN EUROPEANISM OF ANTON G. RUBINSTEIN THROUGH THE EXAMPLE OF CHORUSES OPP. 31, 61, and 62 | 19-31

Svetlana I. Khudozhnikova
THE ISSUE OF THE MUSICAL TEXT PRONUNCIATION IN THE LIGHT OF THE RHETORICAL TRADITIONS OF THE BAROQUE ERA | 32-45

Andrey V. Dikoev
SERGEY CHIRKOV: “I AM GLAD THAT BAYAN IS NOTHING LIKE OTHER INSTRUMENTS” (interview with Sergey Chirkov) | 46-63

Abstract: The article analyzes the Concerto for Piano and Orchestra No. 1 by Einar Englund, one of the major Finnish composers of the second half of the 20th century. Englund represents Finnish Neoclassicism, a movement that differs in dating and essence from Neoclassicism in Central Europe. Finnish Neoclassicism wasn’t given much coverage in Russian-language literature, whereas Finnish researchers write about the orientation of this movement towards the music of European composers of the first half of the 20th century (I. Stravinsky, M. Ravel, P. Hindemith, etc.). The analysis of Einar Englund's Concerto broadens these ideas, since the author reveals numerous connections with the European art (from Bach to the Romantic-era composers) and with the music by J. Gershwin in the thematic and compositional features of the Concerto.

Keywords: Einar Englund, Finnish Neoclassicism, Concerto for Piano and Orchestra No. 1

Abstract: The article analyses the choral oeuvre of A. G. Rubinstein (using the example of choral compositions Opp. 31, 61, and 62) through the historical, cultural and philosophical concept of Russian Europeanism. Rubinstein's phenomenon in connection with the era, biographical trajectories and surroundings that influenced the composer's personality development are examined. The role of German culture in the formation of the composer's social and musical views, as well as European trends and their transformation in the choral work of A. G. Rubinstein are emphasized.

Keywords: Russian Europeanism, Rubinstein, Germany, a cappella choirs, German traditions

Abstract: Modern performance of Western European music of the 17th–18th centuries differs dramatically from the principles stated in the tractates of the Baroque era. The most important means of expression of the Baroque text are the articulation and the accentuation that have been subordinate to rhetorical traditions. Musical rhetoric is not a set of rules and clichés only. The tractates of the last centuries describe a musician as a skillful rhetor who has to have control over intonation, clear articulation, the one who is able to place emphatic accents and seize the hearts of the listeners.

Keywords: Baroque era music, musical rhetoric, articulation