Music Journal of Northern Europe № 1(29), 2022

 

Contents

 

Vera I. Nilova
FREDRIK PACIUS AND HIS “UNFINISHED” SYMPHONY | 1-23

 

Ekaterina G. Okuneva
BETWEEN FREEDOM AND DISCIPLINE: SERIAL TECHNIQUE ASPECTS IN LE MARTEAU SANS MAÎTRE BY PIERRE BOULEZ | 24-49

 

Nikolay V. Pozdeev, Tatyana S. Ekimenko
RECEPTION OF THE POEM “GONDLA” BY NIKOLAI GUMILEV IN SONATA NO. 4 FOR BAYAN BY KIRILL VOLKOV | 50-69

 

Danila V. Lyubimov, Anna E. Krom
JOTA ARAGONESA BY M. I. GLINKA IN THE INTERPRETATION BY M. M. FOKINE AND I. A. MOISEYEV BY M. I. GLINKA IN THE INTERPRETATION BY M. M. FOKINE AND I. A. MOISEYEV | 70-78

 

Irina I. Sozinova
THE BRETON SONGS BY FRANCIS PULENC: AN ATTEMPT TO EXPAND THE TRADITIONAL CARNIVAL WORLD | 79-95

 

Elena S. Tanikova
MARI TRENCH AND RECRUITMENT SONGS AND THEIR INSTRUMENTAL VERSIONS (EXPERIENCE OF RECONSTRUCTION) | 96-111

 

Ekaterina A. Velikanova, Marina A. Rudina
I STUDY AT THE PETROZAVODSK CONSERVATOIRE: RUSSIAN LANGUAGE STUDY GUIDE AS A TOOL FOR FOREIGN STUDENTS’ ADAPTATION : RUSSIAN LANGUAGE STUDY GUIDE AS A TOOL FOR FOREIGN STUDENTS’ ADAPTATION | 112-120

 

 

Vera I. Nilova FREDRIK PACIUS AND HIS “UNFINISHED” SYMPHONY

 

Abstract: The article describes the contribution of Fredrik Pacius, a native of Germany, to the development of the musical culture of Finland in the 19th century and his first and only endeavour in the genre of symphony.

 

Keywords: Pacius, Finland, “the father of Finnish music”, romanticism, symphony

 

 

Ekaterina G. Okuneva BETWEEN FREEDOM AND DISCIPLINE: SERIAL TECHNIQUE ASPECTS IN LE MARTEAU SANS MAÎTRE BY PIERRE BOULEZ

 

Abstract: The article deals with the issues of the development of serial technique in the work of Pierre Boulez in the first half of the 1950s. Based on the composer’s theoretical writings, four methods of deducing the serial material are identified, which balance between the rigor of the system and “free will” and are defined by the concepts of “field of action” and “pointillist encounter”. The principles of different types of technique are demonstrated through the example of the vocal cycle Le Marteau sans maître. The author of the article also reveals how Boulez sees the solution of the dilemma of organization and composition in serial music.

 

Keywords: music of the 20th century, Pierre Boulez, Le Marteau sans maître, serial technique, pitch multiplication, rhythmic cells, duration rows

 

 

Nikolay V. Pozdeev, Tatyana S. Ekimenko RECEPTION OF THE POEM “GONDLA” BY NIKOLAI GUMILEV IN SONATA NO. 4 FOR BAYAN BY KIRILL VOLKOV

 

Abstract: The article is devoted to the interpretation of the poem Gondla by N. Gumilev in Sonata No. 4 for bayan by Kirill Volkov. The authors define the features of the composer's interpretation of Gumilev's plot on the basis of its secondary reproduction in music, and reveal the receptive connections between the compositions. The paper provides the analysis of literary and musical compositions.

 

Keywords: K. E. Volkov, N. S. Gumilev, the poem Gondla, ideas-symbols, receptions, interpretation

 

 

Danila V. Lyubimov, Anna E. Krom JOTA ARAGONESA BY M. I. GLINKA IN THE INTERPRETATION BY M. M. FOKINE AND I. A. MOISEYEV

 

Abstract: The article is devoted to the issue of transposition of M. I. Glinka's Jota Aragonesa into the field of dance art. The author focuses on comparing the performances of two outstanding choreographers, Mikhail Fokine and Igor Moiseyev, who turned to the non-ballet music of the Russian classic. The history of creation of the performances is presented and the issue of the stage embodiment of the musical images of Glinka's Spanish overture is highlighted. The following topics are considered: genre specifics of the two versions (Fokine's plotless one-act ballet, Moiseyev's concert dance routine), decorative and artistic design of Fokine's performance (costumes and scenography by A.Y.Golovin), the work of the choreographers with the musical text. Unlike Fokine's performance, Moiseyev's Jota Aragonesa has omissions (there is no introductory Grave section, Piu mosso development and the sonata form reprise), includes the thematic material of another Spanish overture by Glinka (Memories of a Summer Night in Madrid). The new instrumentation is made by N. Nekrasov.

 

Keywords: M. I. Glinka, M. M. Fokine, I. A. Moiseyev, A. Y. Golovin, music, symphonic overture Jota Aragonesa, ballet, plotless ballet, dance routine

 

 

Irina I. Sozinova THE BRETON SONGS BY FRANCIS PULENC: AN ATTEMPT TO EXPAND THE TRADITIONAL CARNIVAL WORLD

 

Abstract: The article is devoted to the study of a specific type of theatrical vocal miniature, which developed in folk music genre of vocal lyrics by Francis Poulenc through the example of the vocal cycle Breton Songs. The author examines the influence of the carnival poetics on the formation of theatricality in vocal miniatures based on the topoi of carnival poetics – the attitude towards death, the type of laughter, the function of the mask. The author attaches great value to the study of Poulenc’s composing direction in the vocal cycle, which manifests itself on the compositional, genre and intonation levels of his musical dramaturgy. In the article the author discusses the origins of carnival formation in the vocal cycle, the game and semantic nature of the carnival genres such as byword and lullaby together with the ways of their interaction, as well as the phenomenon of the foolishness for Christ as an attempt to expand the carnival range in the Breton Songs vocal cycle.

 

Keywords: carnival theater, vocal miniature, carnival topoi, foolishness for Christ, byword and lullaby, composing direction

 

 

Elena S. Tanikova MARI TRENCH AND RECRUITMENT SONGS AND THEIR INSTRUMENTAL VERSIONS (EXPERIENCE OF RECONSTRUCTION)

 

Abstract: The article is dedicated to the genre of trench and recruitment songs of Mari – a genre of Mari traditional music that accompanies military service, their imaginative features and the practice of instrumental music making. The author analyzes the sources of the early 20th century and represents options of reconstructing tunes for their usage in modern performing practice of playing the kÿsle – an instrument that once accompanied recruitment and trench songs. The analysis of playing techniques, articulation, texture features during optional instrumental accompaniment of singing by kÿsle is an attempt to revive interest in this genre of traditional music among performers and researchers of Mari instrumental music.

 

Keywords: Mari music, traditional instruments, songs about military service, recruitment songs, Mari culture, folk performing practice, Mari string instruments

 

 

Ekaterina A. Velikanova, Marina A. Rudina I STUDY AT THE PETROZAVODSK CONSERVATOIRE: RUSSIAN LANGUAGE STUDY GUIDE AS A TOOL FOR FOREIGN STUDENTS’ ADAPTATION

 

Abstract: This article raises the issues of the specifics of teaching Russian as a foreign language at a music university, and also shares the experience of the Petrozavodsk State Glazunov Conservatoire in creating a study guide for foreign students “I study at the Petrozavodsk Conservatoire” (authors E. A. Velikanova, M. A. Rudina), which can be used in Russian language lessons for adaptation and professional vocabulary learning during initial training.

 

Keywords: Russian as a foreign language, foreign students, adaptation, students-musicians, professional vocabulary, Petrozavodsk State Glazunov Conservatoire