Music Journal of Northern Europe № 4(36), 2023

 

Contents

 

Tatiana S. Ekimenko, Svetlana A. Shishkina

“POLYPHONIC ALBUM” BY BORIS NAPREEV: FEATURES OF THE COMPOSITIONAL STRUCTURE OF THE CYCLE AND FUGUES | 1-13

 

Natalia P. Tregulova

HISTORIOGRAPHY OF THE STUDY OF MORDOVIAN PERFORMING TRADITIONS IN THE CONTEXT OF MODERN CULTURE (TO THE PROBLEM OF UPDATING) | 14-25

 

Marina M. Podguzova

METHODOLOGICAL AND PERFORMING PRINCIPLES OF SCHOOL OF K. A. ERDELY | 26-35

 

Xun Gao

FEATURES OF TRADITIONAL CHINESE CULTURE IN TSZO CHZHEN-GUAN'S TRIPTYCH FOR THREE FLUTES | 36-47

 

Vera I. Nilova, Eleonora G. Bosenko 

CHAMBER VOCAL OEUVRE OF MAURICE RAVELAND HIS POETIC PREFERENCES | 48-60

 

Danila V. Lyubimov 

ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS”  | 61-83

 

Tamara M. Egorova 

THE IMAGE OF EVIL IN PETERIS VASKS’S INSTRUMENTAL MUSIC  | 84-96 

 

Olga V. Semenova 

STUDYING THE CREATIVE WORK OF RUSSIAN COMPOSERS DURING CLASSES OF RUSSIAN AS A FOREIGN LANGUAGE  | 97-109

 

 

Tatiana S. Ekimenko, Svetlana A. Shishkina “POLYPHONIC ALBUM” BY BORIS NAPREEV: FEATURES OF THE COMPOSITIONAL STRUCTURE OF THE CYCLE AND FUGUES | 1-13

  

Abstract: In the article, the authors consider the features of the structure of the cycle and fugues in the “Polyphonic Album” for piano by Boris Napreev. The subject of study in the work was the thematism of the cycle, some features of expositions and free parts of fugues, the structure of the cycle as a whole. The authors come to the conclusion that the composer covered and demonstrated his own vision of various types of 3-part fugues (two-key, repercussion, fret-developing, contrapuntal-developing) in the collected works, mastered in the training course “Polyphony”. This circumstance makes it possible to consider Napreev's collected works as a textbook on polyphonic analysis (and as a model for composing student fugues) for musicologists, composers and performers of various fields of training.

 

Keywords: polyphonic cycle, Boris Napreev, “Polyphonic album”, fugues, quotations, exposition, free movement, two-way fugue, repercussion fugue, fret-developing fugue, anthology

 

Natalia P. Tregulova  HISTORIOGRAPHY OF THE STUDY OF MORDOVIAN PERFORMING TRADITIONS IN THE CONTEXT OF MODERN CULTURE (TO THE PROBLEM OF UPDATING) | 14-25

  

Abstract: The article examines the state of the Mordovian people’s performing traditions at the beginning of the third decade of the XXI century. On the basis of a number of scientific works, the author analyzes the changes taking place in the song culture of the Moksha and Erzya, and also discusses the preservation of the three-voice bourdon polyphony, which determines its identity. There is a decrease in the number of villages where three-voice polyphony exists, the disappearance of a number of song genres, violation of the performing traditions continuity mechanisms, the predominance of secondary singing groups.

 

Keywords: secondary singing groups, Mordovian performing traditions, UNESCO Convention, collective singing, intangible cultural heritage, three-voice bourdon polyphony 

 

Marina M. Podguzova METHODOLOGICAL AND PERFORMING PRINCIPLES OF SCHOOL OF K. A. ERDELY | 26-35

 

Abstract: The name of K. A. Erdely is a sign of the highest professionalism in the Domestic Harp Art. A brilliant performer, arranger, teacher, she left a significant legacy in every area of her work.

Pedagogy, as one of the main areas of her professional activity, Ksenia Aleksandrovna devoted seventy years of her life, raising a significant number of high-class musicians who successfully worked throughout the Soviet Union.

For the first time, an attempt was made to analyze in detail the methodological foundations of the school of K. A. Erdely, and a conclusion was made about their synthetic nature. The reasons for the initial rejection by the harpist of the new way of playing the instrument during the years of its introduction into the educational process of the Moscow Conservatory are considered.

 

Keywords: K. A. Erdely, harp, Posse-Slepushkin method, methodological principles, pedagogy, harp art

 

Xun Gao FEATURES OF TRADITIONAL CHINESE CULTURE IN TSZO CHZHEN-GUAN'S TRIPTYCH FOR THREE FLUTES | 36-47

  

Abstract: The article is dedicated to “Triptych for three flutes” by Tszo Chzhen-Guan. This chamber-instrumental work, which is based on an organic fusion of Chinese and European cultures, represents the features of the composer's orchestral music. The striking features of the composition are the narrative dramaturgy, reliance on slow tempos associated with ancient Chinese musical genres built on religious and philosophical principles of contemplation. Tszo Chzhen-Guan refers to the modal, intonation and rhythmic features typical of Chinese music (the technique of inaccurate rhythmic acceleration and deceleration, second harmonies, etc.), imitates the playing of Chinese bamboo flutes by introducing trills, glissando, frullato, ornamentation and other performing techniques. “Triptych for Three Flutes” is a non-programme composition, however, thanks to the analysis of musical means, it reveals a reliance on Chinese philosophy.

 

Keywords: Tszo Chzhen-Guan, “Triptych for three flutes”, Chinese culture, flute, performing techniques of playing the flute

  

Vera I. Nilova, Eleonora G. Bosenko  CHAMBER VOCAL OEUVRE OF MAURICE RAVEL AND HIS POETIC PREFERENCES | 48-60

  

Abstract: Traditionally, one of the topical directions in the study of vocal work of composers is the identification of the interaction between word and sound. Referring to Ravel (and French music in general), analytical procedures will be effective if the researcher has good phonetic skills in French. Even more important is the mastery of French phonetics for vocalists. But for the leader no less important than the performing school of the vocalist is the issue of interpreting vocal music of the early twentieth century. To solve this problem, it is necessary to expand the usual framework of the stylistic context of Ravel's oeuvre. The article is devoted to the study of Ravel's chamber vocal works in the aspect of his poetic preferences.

 

Keywords: Ravel, chamber vocal music, Marot, Verlaine, Mallarmé, tradition, poetry

 

Danila V. Lyubimov   ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS” | 61-83

  

Abstract: The article is dedicated to the orchestral and choreographic versions of the play “Papillons” from R. Schumann’s piano cycle “Carnaval”. The features of N. Tcherepnin’s orchestration are considered. While maintaining the basic elements of the structure, the tonal-harmonic plan, the texture of the piece, Tcherepnin’s orchestration demonstrates free handling of registers and various orchestral writing techniques. Colorful orchestration brings freshness and novelty to Schumann’s music, helping to embody the plastic image of the Butterfly in Fokine’s one-act ballet “Carnaval”. The plot continuation of the scene “Butterfly and Pierrot” was the subsequent one-act ballet “Les Papillons” by Fokine to the music of the cycle of the same name by Schumann, orchestrated by Tcherepnin.

 

Keywords: R. Schumann, N. N. Tcherepnin, M. M. Fokine, piano cycle “Carnaval”, play “Papillons”, score, orchestration, instrumentation, interpretation, one-act ballet “Carnaval”

 

Tamara M. Egorova THE IMAGE OF EVIL IN PETERIS VASKS’S INSTRUMENTAL MUSIC | 84-96

  

Abstract: This article is dedicated to the image of evil in Peteris Vasks’s instrumental music. Although the composer doesn’t consider this sphere familiar, he is looking for ways to represent it in music. This is due to the Christian idea of the victory of good over evil, which is one of the most important ideas of Vasks’s oeuvre. Vasks’s methodology of representation of good and evil is based on the ontological distinction between the two phenomena. Negative images are rather ‘pictured” than embodied. In spite of expressiveness the music material of non-good is like a formula and incapable of essential developing. In the process of creation of negative images Vasks permanently quotes his own works. That makes the music material a symbol, which cannot embody, but only designate evil.

 

Keywords: Peteris Vasks, evil, canto perpetuo, toccata, “ironico”, neoromantism, instrumental music, Latvian music

 

Olga V. Semenova STUDYING THE CREATIVE WORK OF RUSSIAN COMPOSERS DURING CLASSES OF RUSSIAN AS A FOREIGN LANGUAGE | 97-109

  

Abstract: The article attempts to identify the key stages for working with foreign students of higher music education institutions and humanitarian universities in studying the creative work of Russian composers from the point of view of an integrated approach, which consists in step-by-step mastering of the material taking into account the level of proficiency in the Russian language, the study of musical art in the context of other types of art (painting, architecture, sculpture), and also provides formation of one of the most important competencies – cultural one. The article justifies the necessity of acquaintance with Russian art and culture, including the creative works of Russian composers, already at the initial stage of training future musicians, as well as students of humanitarian universities. The article presents a brief review of special study guides for applicants of higher music education institutions, as well as textbooks on Russian art and culture.

 

Keywords: musical art, Pyotr Ilyich Tchaikovsky, methods of teaching Russian as a foreign language, university for arts

 

 

 

 

Music Journal of Northern Europe № 2(34), 2023

 

Contents

 

Materials of the International Scientific Conference “Professional music of Karelia: history, heritage, interpretation” (Petrozavodsk State Glazunov Conservatoire, 21th October 2022)

 

Svetlana Y. Nikolaeva
TAMARA V. KRASNOPOLSKAYA: SPECIALIST IN FOLKLORE, FINNO-UGRIC SCHOLAR | 1-12

 

Aleksandra Y. Alekseeva
CHORAL COMPOSITIONS BY E. N. PATLAENKO IN THE EARLY 1990s: INTERPRETATION OF THE POETIC PRIMARY SOURCE | 13-27

 

Vladimir I. Stachinsky
ABOUT THE STYLE OF THE FIRST SYMPHONY BY ALEXANDER BELOBORODOV | 28-37

 

Tatyana V. Kraskovskaja
INCIDENTAL CANTATA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA | 38-46

 

Ekaterina G. Okuneva
CLUSTER TECHNIQUE – FIELD TECHNIQUE – MICROPOLYPHONY: GYÖRGY LIGETI’S COMPOSITIONAL INNOVATIONS IN THEORETICAL UNDERSTANDING OF ERKKI SALMENHAARA | 47-64

 

Irina V. Koposova
MELODIC-POLYPHONIC CLUSTER TECHNIQUE BY HENRIK NORDGREN: IN DIALOGUE WITH LIGETI | 65-82

 

Natalia P. Hilko
THE THEORY OF CONTINUAL EVOLUTIONISM BY V.V. ZADERATSKY | 83-93

 

Andrey V. Dikoev
ACADEMIC MUSIC FOR BAYAN (ACCORDION) BY COMPOSERS OF KARELIA | 94-120

 

Maria V. Kozak
EPITEXT AS A WAY OF PROMOTING IDEAS AND VIEWS OF THE COMPOSER (NDM PRINCIPLE OF RELATIVE MUSIC BY AVENIR H. DE MONFRED) | 121-139

 

Larisa V. Brazhnik
PAST, PRESENT, FUTURE OF UDMURT MUSICAL FOLKLORISTICS (REVIEW OF I. M. NURIEVA’S MONOGRAPH UDMURT MUSICAL FOLKLORISTICS. PAGES OF HISTORY, Izhevsk, 2021) | 140-144

 

 

Svetlana Y. Nikolaeva TAMARA V. KRASNOPOLSKAYA: SPECIALIST IN FOLKLORE, FINNO-UGRIC SCHOLAR | 1-12

 

Abstract: In the article, the author examines the multifaceted activities of one of the largest Finno-Ugric scholars of Russia – T. V. Krasnopolskaya, who stood at the origins of the creation of the ethnomusicological school of Karelia. The history of collecting folklore and ethnographic materials on the territory of Karelia, which was initiated and organized by Krasnopolskaya, is covered in detail. The leading aspects of her scientific work, which laid the foundation for further study of the musical and folklore traditions of Karelia and the Northwest of Russia, are highlighted.

 

Keywords: Finno-Ugric studies, collecting folklore and ethnographic materials, collections of folk songs, Karelian lamentations, interethnic relations, interdisciplinary research

 

 

Aleksandra Y. Alekseeva CHORAL COMPOSITIONS BY E. N. PATLAENKO IN THE EARLY 1990s: INTERPRETATION OF THE POETIC PRIMARY SOURCE | 13-27

 

Abstract: The article discusses two choral opuses – Concerto No. 1 and ode “Lord” for a cappella choir – created in the early 1990s by the major Karelian author Eduard Nikolaevich Patlaenko. The composer's works are analyzed from the point of view of working with selected poetic texts, forming and choral writing. The author of the article concludes with the stylistic features common to the selected compositions as well as to Patlaenko's choral creativity in general.

 

Keywords: Eduard Patlaenko, ode “Lord”, Concerto No. 1 for a cappella choir, continual form, poem, Alexander Pushkin, Arthur Rimbaud, Gavrila Derzhavin

 

 

Vladimir I. Stachinsky ABOUT THE STYLE OF THE FIRST SYMPHONY BY ALEXANDER BELOBORODOV | 28-37

 

Abstract: The article is devoted to the stylistic features of symphonic works by Alexander Beloborodov. The composer's reference to the Karelian-Finnish folklore in the First Symphony shows a careful attitude to ethnic traditions and influences the way of interacting with musical material with the help of melodiousness and variability. Melodiousness implies linearity, length, and variability - a change in melodic and textural presentation while maintaining the intonational basis. The generalized image of the freedom of the national spirit, expressed in a drawn-out cantilena, convincingly demonstrates the humanistic orientation of the author's artistic intention, sets an emotional atmosphere akin to the sensations of the breadth of the Kalevala epic space.

 

Keywords: images of the “Kalevala”, creativity of the Finno-Ugric peoples, symphonies of Alexander Beloborodov, composer's style, dramaturgy of symphonic development, composers of Karelia

 

 

Tatyana V. Kraskovskaja INCIDENTAL CANTATA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA | 38-46

 

Abstract: The article is devoted to the genre of an incidental cantata in the works of Karl Rautio and Helmer Sinisalo. The analysis of the complex of musical and expressive means of the cantatas “Under the Banner of the Party” and “My Light and Joy” by G. Sinisalo allowed us to conclude that the cantata-oratorio genre of the Soviet era is characterized not only by the standards of the “great style”, but also by the historical traditions of the genre of the Russian cantata.

 

Keywords: Professional music of Karelia, Helmer Sinisalo, Karl Rautio, incidental cantata.

 

 

Ekaterina G. Okuneva CLUSTER TECHNIQUE – FIELD TECHNIQUE – MICROPOLYPHONY: GYÖRGY LIGETI’S COMPOSITIONAL INNOVATIONS IN THEORETICAL UNDERSTANDING OF ERKKI SALMENHAARA | 47-64

 

Abstract: In the 1960s, Ligeti developed a technique of static sonor composition, also known as micropolyphony. Its first theoretical understanding belonged to the Finnish musicologist and composer Erkki Salmenhaara, who published the book “Das musikalische Material und seine Behandlung in den Werken Apparitions, Atmospheres, Aventures und Requiem von György Ligeti” in 1969. In this study, a typology of Ligeti’s technique was proposed. Based on the properties of the musical material used, Salmenhaara differentiated cluster technique, field technique and micropolyphony in Ligeti’s oeuvre. The author of this article examines the specifics of each composition method, revealing their similarities and differences, and offers a new interpretation of the relationship between the field technique and micropolyphony, which differs from the one presented in Salmenhaara’s study. At the end of the article, a conclusion is drawn about the productivity of the research approach to sonorics through the analysis of the properties of musical material.

 

Keywords: György Ligeti, Erkki Salmenhaara, “Atmospheres”, “Apparitions”, Requiem, cluster technique, field technique, micropolyphony

 

 

Irina V. Koposova MELODIC-POLYPHONIC CLUSTER TECHNIQUE BY HENRIK NORDGREN: IN DIALOGUE WITH LIGETI | 65-82

 

Abstract: The article is devoted to an individual version of the sonor technique – the technique of melodic-polyphonic cluster, which was formed in the music of Pehr Henrik Nordgren (1944–2008). The time of its systematic development was short and covered the period from 1965 to the early 1970s, but the experience of the Finnish composer is of research interest. Nordgren's technique was formed under the influence of Gyorgy Ligeti's oeuvre and has not been studied in this aspect. In the article, the features of this technique are shown by the example of “Euphonie” Op. 5 for orchestra, one of the most significant compositions of those years. Conclusions about the nature of Nordgren's reception of Ligeti's music are drawn on the basis of an analysis of the features of orchestral writing, types of sound units and methods of textural organization used in different parts of the composition.

 

Keywords: sonor technique, melodic-polyphonic cluster technique, Gyorgy Ligeti, Pehr Henrik Nordgren, “Euphonie” Op. 5

 

 

Natalia P. Hilko THE THEORY OF CONTINUAL EVOLUTIONISM BY V. V. ZADERATSKY | 83-93

 

Abstract: The change of the worldview in the 20th century led to a reformatting of the system of artistic expression. The grammatical regulations were updated, and temporal and spatial relationships became more complex and multiplied. All this necessitated a revision of traditional principles of form-making and the search for new ways of creating artistic integrity. One of these became the principle of continuous evolutionism, based on constant “sliding” changes of intonational units, implementing the dichotomy of identity and contrast in a particular way. The theoretical development of this phenomenon was initiated by V. V. Zaderatsky. The researcher proposed a classification of types of continuous form-making, substantiated syntactic regularities, and formed a conceptual apparatus. The relevance of Zaderatsky's theory is confirmed by its broad application to various stylistic phenomena.

 

Keywords: V. V. Zaderatsky, the theory of continual evolutionism, the continual-static type of form-making, the continual-wave type of form-making, the continual-contrast type of form-making, phase syntax, quanta-motivic syntax, unfolding phase, impulsive-motivic formation

 

 

Andrey V. Dikoev ACADEMIC MUSIC FOR BAYAN (ACCORDION) BY COMPOSERS OF KARELIA | 94-120

 

Abstract: The article presents an overview of academic music for button accordion (accordion), created by composers of the Republic of Karelia. A small historical note is given on the academic bayan tradition of Karelia, the history of the creation of compositions, premiere performances of plays are considered, and a systematization of the studied music is proposed. The significance of the contribution of the composers of Karelia to the accordion repertoire is noted, the necessity of publishing a number of compositions is emphasized.

 

Keywords: music for button accordion, contemporary music, composers of Karelia, Albin Repnikov, Petrozavodsk Conservatoire

 

 

Maria V. Kozak EPITEXT AS A WAY OF PROMOTING IDEAS AND VIEWS OF THE COMPOSER (NDM PRINCIPLE OF RELATIVE MUSIC BY AVENIR H. DE MONFRED) | 121-139

 

Abstract: The article contains an analysis of the promotion strategy of the book “The New Diatonic Modal Principle of Relative Music” by Avenir H. de Monfred (New York, 1970) – the main theoretical work (1903–1974) which describes in detail the technique of the NDM principle and outlines the composer's views on the evolution of musical composition. The book had been preparing for publication for almost two decades and during this time had been repeatedly announced in the press by the composer himself and reviewers of articles about the premieres of de Monfred's works. In 1971, after the publication of the book, two English-language reviews were published with the perception of the NDM principle opposite to the composer's strategy.

 

Keywords: Avenir H. de Monfred, “The New diatonic principle of relative music”, epitext, Joseph Yasser, EMCA, polymodality, optional notation

 

 

Larisa V. Brazhnik PAST, PRESENT, FUTURE OF UDMURT MUSICAL FOLKLORISTICS (REVIEW OF I. M. NURIEVA’S MONOGRAPH UDMURT MUSICAL FOLKLORISTICS. PAGES OF HISTORY, Izhevsk, 2021) | 140-144

 

Abstract: Review of the monograph by I. M. Nurieva “Udmurt musical folkloristics. Pages of History” (Izhevsk, 2021) provides a critical analysis of the work, characterizes the relevance of the work, evaluates the author's methodological approaches to the study of the processes of formation and development of Udmurt ethnomusicology.

 

Keywords: Udmurt musical folklore, history of Udmurt ethnomusicology, archival materials

Music Journal of Northern Europe № 3(35), 2023

 

Contents

 

Lyubov A. Kupets

TWO BIOGRAPHIES OF SERGEI RACHMANINOV IN THE SERIES "LIVES OF REMARKABLE PEOPLE": RECYCLING OR REBRANDING? | 1-12

 

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 

ABOUT MODERN MUSIC IN THE PARADIGM OF THE XXI CENTURY (INTERVIEW WITH DOCTOR OF ART CRITICISM VLADISLAV PETROV) | 47-63

 

Deng Shouheng

CONCERT ACTIVITY OF CHARLES SOUALLE IN THE CONTEXT OF THE DEVELOPMENT OF EUROPEAN ORIENTALISM IN THE 1850s AND 1860s | 64-78

 

Daria A. Volodiagina

ABOUT THE FEATURES OF INTONATION DEVELOPMENT IN THOMAS ADES’S OPERA “THE TEMPEST” | 79-93

 

 

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

 

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 21^st century, Danish music, Hans Abrahamsen, “Left, alone”, piano concert for the left hand, postminimalism

 

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

 

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

 

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

  

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

 

Music Journal of Northern Europe № 1(33), 2023

 

Contents

 

Materials of the International Scientific Conference “Professional music of Karelia: history, heritage, interpretation” (Petrozavodsk State Glazunov Conservatoire, 21th October 2022)

 

Tatyana S. Ekimenko
UNION OF COMPOSERS OF KARELIA: THE BEGINNING OF THE WAY | 1-10

 

Vera I. Nilova
T. V. KRASNOPOLSKAYA – HISTORIAN OF RUSSIAN MUSIC | 11-21

 

Marina A. Doktorova
MY MUSICAL MEMOIR (A REVIEW OF THE PERSONAL ARCHIVAL COLLECTION OF THE COMPOSER E. N. PATLAENKO) | 22-33

 

Irina M. Nurieva
ROBERT LACH – UNKNOWN “FAMOUS” SCIENTIST | 34-48

 

Ekaterina G. Okuneva
INTEGRAL SERIAL TECHNIQUE IN SONATA FOR TWO PIANOS BY MICHEL FANO: BETWEEN TRADITION AND INNOVATION | 49-70

 

Elena I. Pererva, Evgeniya V. Safonova
OPERA BY E. PODGAITS “ALICE THROUGH THE LOOKING-GLASS”: ARTISTIC CONCEPT AND IMAGINATION | 71-93

 

Tatiana N. Gaponenko, Alina V. Kuznetsova, Liudmila V. Sbitnevа
ACTUAL ISSUES OF PERFORMING KEYBOARD MUSIC BY W. A. MOZART | 94-110

 

Marina M. Podguzova
BETWEEN FREEDOM AND AUTHOR'S TEXT: A. G. ZABEL AS AN EDITOR OF HARP PARTS AND CADENCES | 111-127

 

Evgeniy V. Terekhov
INTONATION IN A STRING QUARTET | 128-141

 

 

Tatyana S. Ekimenko UNION OF COMPOSERS OF KARELIA: THE BEGINNING OF THE WAY | 1-10

 

Abstract: The article is devoted to the activity of the Union of Composers of the KFSSR in the early years of the existence of the organization. The author dwells in detail on the report of the chairman of the Presidium of the SSK of the KFSSR L. Vishkarev on the work of the Union for 1943. For the first time, the report provides complete information about all spheres of activity of the composer organization during the evacuation in Belomorsk. The research was carried out on the basis of examining the documents of the National Archive of the Republic of Karelia.

 

Keywords: Union of Soviet Composers of the KFSSR, Leonid Vishkarev, National Archive of the Republic of Karelia

 

 

Vera I. Nilova T. V. KRASNOPOLSKAYA – HISTORIAN OF RUSSIAN MUSIC | 11-21

 

Abstract: The article is written in the genre of memories of personal communication between V. I. Nilova and T. V. Krasnopolskaya. T. V. Krasnopolskaya (1937–2015) is widely known as a prominent Russian ethnomusicologist and Finno-Ugric scholar. She is less well known as a historian of Russian music, which she taught at the Petrozavodsk Conservatory for more than 40 years. Сombination of the talent of historian and ethnomusicologist in one teacher-researcher led Krasnopolskaya to a scientific discovery – the discovery of the folklore source of the melody of “Finn's Ballads” from M. I. Glinka’s opera “Ruslan and Lyudmila”.

 

Keywords: T. V. Krasnopolskaya, history of Russian music, Glinka, “Finn's Ballads”, scientific school, musical ear, experimental method, runic model

 

 

Marina A. Doktorova MY MUSICAL MEMOIR (A REVIEW OF THE PERSONAL ARCHIVAL COLLECTION OF THE COMPOSER E. N. PATLAENKO) | 22-33

 

Abstract: The article describes materials from the personal collection of composer E. N. Patlaenko stored in the National Archives of the Republic of Karelia. Eduard Patlaenko is the Honoured Artist of the Karelian Autonomous Soviet Socialist Republic and the Russian Soviet Federative Socialistic Republic, member of the Union of Composers, professor of the Petrozavodsk State Glazunov Conservatoire.

The National Archives of the Republic of Karelia carefully preserves the entire creative heritage of the composer. The archive contains personal documents, musical scores, programmes, concert posters, articles, diary entries, teaching materials and teaching aids, business and personal correspondence, student photo album. The Eduard Patlaenko archive is the collection of primary source materials on the life and work of the composer.

 

Keywords: Edward Patlaenko, composer, the National Archives of the Republic of Karelia, collection, the Union of Composers, the Petrozavodsk State Glazunov Conservatoire

 

 

Irina M. Nurieva ROBERT LACH – UNKNOWN “FAMOUS” SCIENTIST | 34-48

 

Abstract: Robert Lach, the author of several publications on folk music of Finno-Ugric, Turkic and Caucasian peoples, recorded his material from Russian prisoners of war interned during World War I on the territory of Austria-Hungary. Having the opportunity for extensive comparative studies, the scientist recreated a holistic for that time picture of the functioning of the musical cultures of the peoples of the Volga region and their stylistic features.

Despite the fact that his publications immediately became widely known and recognized abroad, having become for many years practically the only source of knowledge about the musical cultures of Russia, Robert Lach entered the history of Russian ethnomusicology quite late due to the inaccessibility of his publications. The purpose of this article is to study the scientific heritage of the Austrian musicologist and scientist Robert Lach in the field of Udmurt traditional musical culture and to identify his role in the formation of Udmurt ethnomusicology.

 

Keywords: Robert Lach, Udmurt ethnomusicology, evolutionist theory, principles of recording and notation, litany

 

 

Ekaterina G. Okuneva INTEGRAL SERIAL TECHNIQUE IN SONATA FOR TWO PIANOS BY MICHEL FANO: BETWEEN TRADITION AND INNOVATION | 49-70

 

Abstract: The article discusses the features of the serial technique of the Sonata for Two Pianos by Michel Fano, created in 1952. The author undertakes a comparison of the multidimensional serial system of composition with the compositional method of Boulez’s “Structures 1a”, reveals their similarities and differences, emphasizes the elements of the traditional and innovative in the music language of the Sonata. At the end of the article, a conclusion is made about the refraction in the composition of the multidirectional tendencies of serialism, which are manifested, on the one hand, in a certain degree of automatism of the compositional process, and, on the other hand, based on the traditional categories of musical thinking.

 

Keywords: Michel Fano, Pierre Boulez, Oliver Messiaen, Sonata for two pianos, integral serialism, pitch row, duration row, macro row

 

 

Elena I. Pererva, Evgeniya V. Safonova OPERA BY E. PODGAITS “ALICE THROUGH THE LOOKING-GLASS”: ARTISTIC CONCEPT AND IMAGINATION | 71-93

 

Abstract: The article is devoted to the children's opera of the famous Moscow composer Efrem I. Podgaits – “Alice through the Looking-glass” (libretto by V. Orel based on the fairy tale by L. Carroll), created in 1980 and staged at the St. Petersburg Musical Theater “Through the Looking-glass” in 1993. The article deals with the issues of genre and style specifics of the work, the basic principles of the musical dramaturgy of the opera, and the peculiarities of reading the literary source.

 

Keywords: E. I. Podgaits, L. Carroll, “Alice Through the Looking-Glass”, children's opera, interpretation, musical dramaturgy

 

 

Tatiana N. Gaponenko, Alina V. Kuznetsova, Liudmila V. Sbitnevа ACTUAL ISSUES OF PERFORMING KEYBOARD MUSIC BY W. A. MOZART | 94-110

 

Abstract: The purpose of the study is to consider topical issues of performing keyboard music by W. A. Mozart. These include: articulation, tempo, dynamics, melismatics, pedaling. The scientific novelty of the work lies in the generalization and structuring by the authors of the main performing techniques and tasks, which makes it possible to more clearly see the features of the composer's style and more clearly convey his creative intention. The authors come to the following results: knowledge of such patterns of the composer's writing will help to form a sense of stylistic features of Mozart's music.

 

Keywords: keyboard music by W. A. Mozart, articulatory leagues, texture, metrorhythm, pedaling, trill, gruppetto, dynamic gradations

 

 

Marina M. Podguzova BETWEEN FREEDOM AND AUTHOR'S TEXT: A. G. ZABEL AS AN EDITOR OF HARP PARTS AND CADENCES | 111-127

 

Abstract: The name of Albert Zabel is known on all continents without exception. As a virtuoso harpist, composer and arranger he left a significant legacy in every area of his work.

The proposed article is devoted to the editorial activity of the harpist, which has become one of his main professional areas. Being an artist of the Mariinsky Theatre, he performed a significant number of adaptations of harp parts and cadences.

The publication for the first time presents a look at the demand for this kind of activity, analyzes the editorial versions of the cadences from P. I. Tchaikovsky's ballets “Swan Lake” and “The Nutcracker”, offers an assessment of the significance of A. G. Zabel's activity in this area in the context of the impact on the world harp art.

 

Keywords: A. G. Tsabel, harp, cadence, “Swan Lake”, “The Nutcracker”, harpist, harp art

 

 

Evgeniy V. Terekhov INTONATION IN A STRING QUARTET | 128-141

 

Abstract: The article discusses the features and typical problems of intonation in a string quartet. Brief recommendations and instructions aimed at solving problems that arise in the work on intonation are given.

 

Keywords: intonation, string quartet, string instruments