Abstract: The authors of the article focus on F. Poulenc's vocal cycle “Calligrammes” (1948), based on poetic texts from the collection of poems of the same name by G. Apollinaire. The composition is analyzed in the aspect of the musical embodiment of figurative poetry and the principles of the organization of the cycle. In his interpretation of the verbal-visual primary source, the composer relies on harmonic means with fixed semantics, sound-descriptive techniques, and genre concretization. To build a lyrical plot and integrate miniatures into a cycle, he forms intonation and tonal connections, and creates a system of special harmonies.

Apollinaire–Poulenc's “Calligrammes” can be interpreted both as a diary of a man has gone through the war, and as a musical monument to the entire “lost generation” (G. Stein).

Keywords: F. Poulenc, G. Apollinaire, “Calligrammes”, ideogram, vocal cycle, interpretation, dramaturgy

Ekaterina G. Okuneva, Nina A. Feofanova

THE PROGRAM CONCERTO IN THE OEUVRE OF PER NØRGÅRD | 38-58

Abstract: The object of study in the article is the concerto work of the modern Danish composer Per Nørgård. The Danish master works within the framework of program instrumental concerto. Most of his compositions have metatextual titles, which have features of generalized programmaticity and at the same time indicate the properties of the material or the use of compositional technique. Nørgård gives a clear preference to the timbre of stringed instruments and strives to update traditional compositional models. He has a scientifically oriented view of the creative process, which implies an experimental approach to the concerto genre. The article pays closer attention to the Cello Concerto No. 1 “Between” (1985), by the example of which the specifics of the author’s programming, individual principles of form construction, especially dramaturgy and orchestral writing are considered.

Keywords: Danish music, Per Nørgård, instrumental concerto, “Between”, accelerando

Alexandra V. Ustugova

FROM THE HISTORY OF WESTERN EUROPEAN CLASSIFICATIONS OF MUSICAL INSTRUMENTS OF XVI–XIX CENTURIES | 59-74

Abstract: In this article, for the first time in Russian musical science, the basic concepts of classifications of musical instruments belonging to Western European authors of different eras are considered from a historical perspective. The research material was the original treatises of theorists and organologists of the XVI–XIX centuries. Ancient traditions retained their importance throughout the history of Western European taxonomies of musical instruments until the second half of the XIX century. The author of the article shows the process of transition of classifications from two to four categorical ones, to the gradual approval of a scientific approach to systematization, based on the principle of unity of the classification criterion. The study of the selected concepts makes it possible not only to identify the stages of formation of the thought of Western European organologists on musical instruments, but also to trace the origins of the modern classification that exists everywhere in performing practice and in music education.

Keywords: classification of musical instruments, systematization, Western European organology, instrument science, history of music

Irina V. Pchelovodova

TRADITIONAL AEROPHONES OF THE UDMURTS (BASED ON THE MATERIALS OF THE XVIII – XX CENTURIES) | 75-89

Abstract: The article examines the existence of Udmurt traditional musical instruments based on ethnographic sources of the XVIII – first half of the XX centuries. They are the most valuable in terms of information about the use of musical instruments in the rituals of the past centuries, descriptions of both the instrument itself and the music played on it. The study is limited to the group of aerophones as the most archaic layer of the Udmurt instrumental culture. As the review of sources shows, depending on the status of the author and his tasks, the information is either limited to mentioning the instrument within the framework of any ceremony, or contains a full description of the instrument, ways of playing it, as well as its role in the life of an ethnic group.

Keywords: Udmurts, traditional musical instruments, aerophones, functioning, ethnographic sources of the 18th – early 20th centuries

Lee Minming

THE NATIONAL MUSICAL INSTRUMENT ERHU IN THE PRACTICE OF CHINESE PERFORMERS OF THE 20TH CENTURY | 90-102

Abstract: The article examines the origin and evolution of the ancient Chinese instrument erhu, and determines its role in the modern musical art. In the study, an analysis of the performing approaches of modern performers was carried out, and the expressive capabilities of the national instrument were determined. There has been a significant evolution in the technical characteristics, performance styles, and repertoire of erhu over the last century. Contemporary Chinese performers have played a very important role in preserving the cultural heritage, developing the performing capabilities of the instrument and enriching its repertoire. All this contributes to the successful integration of the instrument into modern musical Chinese culture.

Keywords: China, traditional instruments, erhu, manner of performance, playing techniques, national style, Hua Yanjun, Lu Wencheng, Liu Tianhua

Maria V. Kalimova

CESAR CUI IN THE MIRROR OF THE RUSSIAN MEDIA OF THE LATE 19TH – EARLY 20TH CENTURIES (CONCERNING THE ISSUE OF CREATIVE REPUTATION) | 103-119

Abstract: The article is based on the overview of the Petersburg print media for the period from 1868 to 1918 related to the name of Cesar Cui. The list of sources includes analytical and news reports, announcements, reviews, excerpts from the entertainment sections and even gossip, jokes and advertisements. The analysis of this data partially allows to reconstruct at least particularly the picture of what did the contemporaries knew about Cui and how did the colleagues, the critics and the public treated him during his life.

Keywords: Cesar Cui, newspapers, music critics, news

Elena D. Bogomolova

JULIUS BLEICHMANN’S PIANO MUSIC IN ST. PETERSBURG SALONS OF THE SILVER AGE: SOCIO-CULTURAL DISCOURSE | 120-135

Abstract: The article deals with the particular features of the function of piano music programmes performed on stage and in amateur salons of St. Petersburg at the turn of the 19th and 20th centuries. A brief description of the piano works of the forgotten St. Petersburg composer Julius Bleichmann is given in the context of Russian culture of that period. An attempt to reconstruct the public piano repertoire and significant musical figures for the Silver Age listener on the basis of the examined sources is made.

Keywords: Julius Bleichmann, the Silver Age, Leipzig Conservatory, salon music, piano pieces, St. Petersburg composers.

Anastasia I. Shinkarenko

THE CONCEPT “CONTEMPORARY MUSIC” IN THE NEWSPAPER “MUSICAL REVIEW”: CONCERNING THE ISSUE OF FORMS OF REPRESENTATION | 136-165

Abstract: The article attempts to identify and analyze the forms of representation of the concept “contemporary music” in the professional activities of the national newspaper Musical Review over the past decade. Not only approaches to the interpretation of the term “contemporary music” by the scientific community and the editorial board of the publication are considered, but also the word combinations associated with it, such as “relevant” and “new music”. Ultimately, it was concluded that this concept is expressed in two forms: in the project activity of the publication, which aims at promoting the music of contemporary composers and the creativity of young performers; and in the publicistic discourse, particularly in headlines and reviews of director's interpretations of classic opera examples.

Keywords: newspaper «Musical Review», contemporary music, contemporary art, actual music, new music, concept, forms of concept representation, conceptology, postmodern, director's opera

Nguyen Bao Yen

SOPRANO CHARACTERS IN THE OPERA “LOVE FOR THREE ORANGES” BY S. PROKOFIEV: EXPRESSIVE AND PERFORMING MEANS | 166-182

Abstract: The article is devoted to the interpretation of the vocal parts of Fata Morgana and Ninetta in S. S. Prokofiev's opera “Love for Three Oranges”. The details concerning the history of the creation of the work, the peculiarities of the composer's opera work, his searches in the field of drama against the background of the state of modern theater, the influence of alternative musical theater and cinema are considered. The opus shows features of comedy and parody. The characters are meaningful to the author in the context of their historical portraits; musical “intonation” masks created by Prokofiev (O. L. Devyatova's term) have an independent style. The Soprano characters belong, on the one hand, to the same magical sphere, and, on the other hand, to different worlds of good and evil. It was found that the composer uses opposite means of musical expression, which generates contrasting performing means in interpretation.

Keywords: S. Prokofiev, “Love for three oranges”, opera of the XX century, soprano, fairy tale, Russian music of the early XX century

Chen Ni

CHARACTERISTICS OF THE GENRE AND FORM IN JIANG WENYE'S PIANO SONATA NO. 3 “LANDSCAPES OF JIANGNAN” | 183-200

Abstract: Sonata No. 3 by Jiang Wenye “Landscapes of Jiangnan” is a representative work for the early stage of the formation of the Chinese piano sonata, since it does not quite fit into the European canons of understanding “sonata”. The flow of time in it is slow and filled with contemplation and admiration of the national nature and life. The close connection with the original source – a piece for pipa “Moonlit Night in Xunyang” – gives the music of the Sonata features of a programmatic, changing-dynamic type. At the same time, the genre designation “sonata” is not accidental. Analyzing the musical material, the author reveals the contours of the sonata-cyclic form in the work. Thus, Sonata No. 3 becomes an important milestone in the interaction of national and European traditions in Chinese piano music.

Keywords: Chinese music, piano sonata, Jiang Wenye, “Landscapes of Jiangnan”

Music Journal of Northern Europe № 2 (38), 2024

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