Music Journal of Northern Europe № 3(35), 2023
Contents
Ekaterina G. Okuneva, Diana A. Tomskikh
HANS ABRAHAMSEN’S “LEFT, ALONE” CONCERT AS A GENRE-COMPOSITIONAL AND ARTISTIC PHENOMENON | 13-34
Irina V. Koposova
CONTINUING THE CASE OF JOZEF KON: TOUCHES TO THE PORTRAIT OF IRINA BARANOVA | 35-46
Elena A. Soboleva
Deng Shouheng
Daria A. Volodiagina
ABOUT THE FEATURES OF INTONATION DEVELOPMENT IN THOMAS ADES’S OPERA “THE TEMPEST” | 79-93
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Lyubov A. Kupets TWO BIOGRAPHIES OF SERGEI RACHMANINOV IN THE SERIES "LIVES OF REMARKABLE PEOPLE": RECYCLING OR REBRANDING? | 1-12 |
Abstract: The article analyzes the image of Sergei Rachmaninoff, created by the authors of the composer's biography in the popular series of "The Lives of Remarkable People". Two biographies written by N. D. Bazhanov and S. R. Fedyakin are used as material, which was published half a century apart: the first biography – in the era of the "thaw", the second one – in the last decade. The analysis of these two narratives allows us to conclude that, despite the radically changed historical and cultural conditions and opportunities, Rachmaninoff, nevertheless, appears in the latter version not so much as a part of cultural recycling, but as a rebranding. The basic outline of the image remains the same: a suffering romantic young man who was thrown by fate into a foreign land, as a result of which he could no longer create and dreamed of his homeland for the rest of his life.
Keywords: Sergey Rachmaninoff, “The Life of Remarkable People” series, cultural recycling, rebranding, Nikolai Bazhanov, Sergey Fedyakin
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Ekaterina G. Okuneva, Diana A. Tomskikh HANS ABRAHAMSEN’S “LEFT, ALONE” CONCERT AS A GENRE-COMPOSITIONAL AND ARTISTIC PHENOMENON | 13-34 |
Abstract: The focus of the article is the piano concert for the left hand “Left, alone” (2015) by the Danish composer Hans Abrahamsen, dedicated to the French pianist Alexander Taro. The authors examine the structure of the composition, the features of its musical organization and dramaturgy. Special attention is paid to the artistic concept, which reflects autobiographical features. The analysis reveals the main idea of the concert – the idea of constraint, which manifests itself at different levels – at the level of organization of musical material (brevity of thematic material, limitation of its sound composition and range), timbre dramaturgy (opposition of orchestral and solo piano) and form (truncation of the reprise section, the use of minimalist methods). The authors come to the conclusion that the idea of competitiveness, characteristic of the genre of the concerto, in Abrahamsen’s work passes into the conceptual sphere, reflecting the struggle with life circumstances and the desire to overcome existing constraints.
Keywords: music of the 21st century, Danish music, Hans Abrahamsen, “Left, alone”, piano concert for the left hand, postminimalism
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Irina V. Koposova CONTINUING THE CASE OF JOZEF KON: TOUCHES TO THE PORTRAIT OF IRINA BARANOVA | 35-46 |
Abstract: This publication is aimed at understanding the figure of Irina Baranova (1955–2011), a teacher and scientist whose activities were completely connected with the Petrozavodsk Conservatoire and left a deep mark on her life. The subject of the study in the article was the scientific and educational-methodical works of Baranova, as well as the texts of theses performed under her supervision. On this basis, the scope of scientific interests of Irina Nikolaevna is characterized, an assessment of her heritage is given, the features of scientific and pedagogical style are highlighted. In general, Baranova's activity is presented as inheriting and developing the characteristic features of an original scientific and pedagogical school that has developed within our university, which is interpreted outside of it as a «Kon school».
Keywords: Irina Baranova, Jozef Kon, Scientific and Pedagogical School, Kon School, Petrozavodsk Conservatoire
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Elena A. Soboleva ABOUT MODERN MUSIC IN THE PARADIGM OF THE XXI CENTURY (INTERVIEW WITH DOCTOR OF ART CRITICISM VLADISLAV PETROV) | 47-63 |
Abstract: The article is devoted to an interview with Astrakhan musicologist V. O. Petrov, whose scientific interest deals with the study of the musical art of the twentieth century. In the conversation V. O. Petrov expanded on the following issues: the problems of the concept of "modern music", the synthesis of arts within the framework of globalization and consumer culture, the emergence of a new type of aesthetics in which beauty is expressed not in the form and means of expression, but in a concept or idea. The issue of narrowing the circle of understanding in the "artist-connoisseur" tandem related to the complexity and deepening of the individualization of musical expression was also discussed. The prospect of the rooting influence of IT technologies on musical art, especially artificial intelligence, as a factor of possible competition between a person and a computer program in creating not only music, but also art in general was considered.
Keywords: musical art, XX-XXI century, composer, time, music language, synthesis of arts, modern music, art, action art, modernity
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Deng Shouheng Concert ACTIVITY OF CHARLES SOUALLE IN THE CONTEXT OF THE DEVELOPMENT OF EUROPEAN ORIENTALISM IN THE 1850s AND 1860s | 64-78 |
Abstract: The article outlines the creative biography and international concert activity of the French saxophonist Charles Soualle (1824–1899), who became famous under the name Ali-Ben-Sou-Alle. The artist is characterized as a virtuoso performer, instrumental wizard, composer, and talented marketer who is subtly sensitive to the artistic requests of the European audience. Capturing the interest of his contemporaries in oriental exoticism, Sualle created the image for himself of an orientalist musician, shrouded in a flair of mysticism and oriental charm.
Keywords: Charles Jean-Baptiste Soualle, Ali-Ben-Sou-Alle, saxophone, turkophone, orientalism
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Daria A. Volodiagina ABOUT THE FEATURES OF INTONATION DEVELOPMENT IN THOMAS ADES’S OPERA “THE TEMPEST” | 79-93 |
Abstract: The article focuses on the opera «The Tempest» by the contemporary British composer Thomas Adès. In 2004 «The Tempest» joined the list of outstanding musical embodiments of the famous Shakespearean plot. Simultaneously with the obvious freshness and complexity of the music language of the composition, the opera theater «The Tempest» turns out to be largely traditional in dramatic and compositional terms. Solo, ensemble and choral episodes form an organic influenced by the post-Wagner opera the intonation plot of the work (the term of N. I. Degtyareva [1]). This study shows that in the opera «The Tempest» by Ades the plot is built through the development and interaction of leitcomplexes (main characters and key phenomena) and leitembles (main characters and important toponyms), revealing the symphonic thinking of the composer.
Keywords: Thomas Adès, the intonation plot, opera, William Shakespeare, Meredith Oakes
