Music Journal of Northern Europe № 1(21), 2020

Contents

Lyubov A. Kupets
History of English music for post-soviet public: television version of A. Vargaftik at the beginning of the twenty-first century | 1-10

 

Antonina S. Maksimova
«I feel thoroughly annoyed with this city»: the background of London success of Vladimir Dukelsky | 11-19

 

Anna S. Krivtsova
Letters from Alan Bush to Grigori Schneerson: on the issue of Soviet-British cultural contacts | 20-36

 

Evgenia A. Zubareva
W. Shakespeare, M. Tariverdiev: incidental music in “Adam marries Eve” | 37-46

 

Valentina G. Trusova
Work on the vocal cycle “Vasilyevsky Island” by S. Banevich at the piano accompaniment class | 47-72

Supplementary materials are available for this article:

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Lyubov A. Kupets HISTORY OF ENGLISH MUSIC FOR POST-SOVIET PUBLIC: TELEVISION VERSION OF A. VARGAFTIK AT THE BEGINNING OF THE TWENTY-FIRST CENTURY

 

Abstract: The report analyzes the mini-cycle of TV shows about English music, released by the project "Musical scores do not burn" by A. Vargaftik on the "Culture" channel in the 2000s. The hypothesis on the formation of new musical television journalism and a "new" history of English music within the “Public history” direction during this period is proposed. The selected shows demonstrate genre and stylistic features of a new model of musical television journalism.

 

Keywords: English music, A. Vargaftik, TV programs, post-Soviet public

 

 

Antonina S. Maksimova «I FEEL THOROUGHLY ANNOYED WITH THIS CITY»: THE BACKGROUND OF LONDON SUCCESS OF VLADIMIR DUKELSKY

 

Abstract: The author explores the cultural background of Vladimir Dukelsky’s life and work in London in the mid-1920s. Dukelky’s letters to his mother, now stored at the Library of Congress in the USA, are being used as research materials. As it is stated in the letters, composing serious music turned out to be almost impossible for Dukelsky. Instead, he diligently and successfully collaborated with the London Music Hall and later remembered London as the only city where one may “not just spend but also make money”.

 

Keywords: Vladimir Dukelsky, Vernon Duke, London Music Hall, music industry, jazz age, Sergei Diaghilev

 

 

Anna S. Krivtsova LETTERS FROM ALAN BUSH TO GRIGORI SCHNEERSON: ON THE ISSUE OF SOVIET-BRITISH CULTURAL CONTACTS

 

Abstract: Speaking about the Soviet-British cultural contacts, it is necessary to mention the name of the outstanding musicologist G. Schneerson (1901–1982). He was engaged in developing and strengthening the international relations of the Soviet Union in the sphere of musical culture all his life and had an incredibly extensive list of business and friendly contacts with musicians around the world. One of his constant addressees was the Englishman A. D. Bush (1900–1995) – a composer, authoritative in the middle of the 20th century, whose work is sparingly presented in Russian musicology. Meanwhile, this ardent supporter of communism visited the Soviet Union more than once and in every possible way promoted Soviet music in his homeland. The Russian National Museum of Music collection contains a part of A. D. Bush's unpublished epistolary legacy addressed to G. Schneerson and included in the scientist’s personal archive (Coll. 375). This article includes an annotated translation of several letters from the composer's correspondence; as an introductory section, a brief overview of all aspects of his creative work connected with the Soviet Union is offered.

 

Keywords: G. Schneerson, A. D. Bush, Soviet Union, communism, Soviet mass song, opera

 

 

Evgenia A. Zubareva W. SHAKESPEARE, M. TARIVERDIEV: INCIDENTAL MUSIC IN “ADAM MARRIES EVE”

 

Abstract: The article covers the «Shakespeare's Sonnets» vocal cycle, created by Mikael Tariverdiev for the movie «Adam marries Eve» (1980). The author determines the purpose of the article to define the location of music in the above-noted movie. The style of each of the eight sonnets, the distinctive techniques and the connection with the music of other composers are examined. As a result, the analysis of the cycle enables the author to draw a conclusion about the distinguishing characteristics of the style of Mikael Tariverdiev, who skillfully combines the features of different genres in his music.

 

Keywords: M. Tariverdiev, W. Shakespeare, sonnet, film, J. S. Bach, F. Lai

 

 

Valentina G. Trusova WORK ON THE VOCAL CYCLE “VASILYEVSKY ISLAND” BY S. BANEVICH AT THE PIANO ACCOMPANIMENT CLASS

 

Abstract: The article covers the specifics of the teacher’s work on the vocal cycle by S. Banevich for soprano and piano at the piano accompaniment class. On the basis of the analysis of poetic texts, the system of musical expressiveness of romances and the composition’s dramaturgy, the author of the article offers an interpretation of her own and a number of methodological recommendations for teachers and performers of the cycle.

 

Keywords: S. Banevich, vocal cycle, «Vasilyevsky island», L. Barbas, piano accompaniment class