Music Journal of Northern Europe № 3 (39), 2024
Contents
Irina V. Koposova, Tatyana M. Talitskaya
OLGA ALEXANDROVNA BOCHKAREVA: PORTRAIT SKETCH | 1-18
Citation link: Копосова, И. В. Ольга Александровна Бочкарева: эскиз портрета / Ирина Владимировна Копосова, Татьяна Михайловна Талицкая // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 1-18. URL: https://doi.org/10.61908/2413-0486.2024.39.3.1-18
Ekaterina G. Okuneva
FACETSOF ANALYTICAL SKILLS: OLGABOCHKAREVA AND HER WORKS ON HARMONY ISSUES | 19-38
Citation link: Окунева, Е. Г. Грани аналитического мастерства: О. А. Бочкарева и её труды по проблемам гармонии / Екатерина Гурьевна Окунева // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 19-38. URL: https://doi.org/10.61908/2413-0486.2024.39.3.19-38
Natalia P. Hilko
Citation link: Хилько, Н. П. Вокальный цикл Э. Патлаенко "Три ракурса" на стихи В. Ходасевича в контексте камерно-вокального творчества композитора / Наталья Павловна Хилько // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 39-65. URL: https://doi.org/10.61908/2413-0486.2024.39.3.39-65
Tatiana S. Ekimenko, Mariya A. Savchenko
RUNIC ORATORIO “KALEVALA” BY ROMAN ZELINSKY: FEATURES OF THEMATISM AND INTERPRETATION OF THE CYCLE | 66-87
Citation link: Екименко, Т. С. Руническая оратория "Калевала" Романа Зелинского: о тематизме и трактовке цикла / Татьяна Сергеевна Екименко, Мария Александровна Савченко // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 66-87. URL: https://doi.org/10.61908/2413-0486.2024.39.3.66-87
Fang Liu, Anastasia B. Shulyndina
Citation link: Фан Лю. Особенности современной интерпретации древней китайской легенды в мюзикле Сань Бао "Бабочки": идеи, символы, герои / Фан Лю, Анастасия Борисовна Шулындина // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 88-112. URL: https://doi.org/10.61908/2413-0486.2024.39.3.88-112
Darya I. Sannikova
MUSICALFEATURES OF «THREE ROMANCES ON POEMS OF ANCIENT CHINESE POETS» BY ZUO ZHEN GUAN | 113-124
Citation link: Санникова, Д. И. Музыкальные особенности "Трех романсов на стихи древних китайских поэтов" Цзю Чэнь Гуаня / Дарья Ивановна Санникова // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 113-124. URL: https://doi.org/10.61908/2413-0486.2024.39.3.113-124
Nadezhda A. Travina
THE COMPOSITION A-RONNE BY LUCIANO BERIO AS A TYPICAL EXAMPLE OF HIS MUSICAL PHONOLOGY | 125-139
Citation link: Травина, Н. А. Пьеса "A-Ronne" Лучано Берио как характерный пример его музыкальной фонологии / Надежда Алексеевна Травина // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 125-139. URL: https://doi.org/10.61908/2413-0486.2024.39.3.125-139
Boris D. Napreev
ON ART, ON THE PROFESSION, ON HIMSELF: FROM CONVERSATIONS WITH COMPOSER BORIS NAPREEV | 140-153
Citation link: Напреев, Б. Д. Об искусстве, о профессии, о себе: из бесед с композиторов Борисом Напреевым / Борис Дмитриевич Напреев // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 140-153. URL: https://doi.org/10.61908/2413-0486.2024.39.3.140-153
Boris D. Napreev
Citation link: Напреев, Б. Д. "Основы оркестровки" Н. А. Римского-Корсакова: к истории создания и публикации / Борис Дмитриевич Напреев // Музыкальный журнал Европейского Севера. 2025. № 3 (39). С. 154-167. URL: https://doi.org/10.61908/2413-0486.2024.39.3.154-167
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Irina V. Koposova, Tatyana M. Talitskaya OLGA ALEXANDROVNA BOCHKAREVA: PORTRAIT SKETCH | 1-18 |
Abstract: This publication is dedicated to Olga Alexandrovna Bochkareva (1937–2003), a teacher and scholar whose activities were inextricably linked with Petrozavodsk Conservatory. The authors aim to recreate Olga Alexandrovna's image on the basis of photographs, documents, reminiscences of relatives, colleagues and students, encompassing various manifestations of her versatile personality
Keywords: Olga Bochkareva, Józef Kon, Harmony course, Petrozavodsk Conservatory
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Ekaterina G. Okuneva FACETSOF ANALYTICAL SKILLS: OLGABOCHKAREVA AND HER WORKS ON HARMONY ISSUES | 19-38 |
Abstract: The article examines the scholarly activity of Olga Bochkareva, a musicologist and teacher of Petrozavodsk State Conservatory. Alongside Yu. G. Kon, she stood at the forefront of establishing the institution’s academic school. Special attention is paid to Olga Bochkareva’s works on harmony and mode issues, which were among her primary interests. The article highlights the distinctive features of Bochkareva's academic style and acknowledges her contribution to the study of Art Nouveau musical style. Additionally, it explores the specifics of her analytical approach to harmony, based on a system-structural investigation of musical texts and inductive logic, with a hermeneutic orientation.
Keywords: Olga Bochkareva, system-structural approach, interdisciplinary approach, inductive method, Jan Sibelius, Alexander Glazunov, Art Nouveau style
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Natalia P. Hilko EDUARD PATLAYENKO’S VOCAL CYCLE “THREE PERSPECTIVES” ON POEMS BY V. KHODASEVICH IN THE CONTEXT OF THE COMPOSER'S CHAMBER VOCAL WORKS | 39-65 |
Abstract: The author focuses on one of E. N. Patlayenko’s significant works which opens a series of vocal opuses of a lyrical and philosophical nature – the vocal cycle “Three Perspectives” based on poems by V. Khodasevich. The compositions is examined in the context of stylistic, substantive, and compositional features of the poetic source, as well as the chamber vocal works as a whole. As a result of the analysis, the author offers their interpretation of the cycle’s content, created with consideration of the composer’s principles for working with poetic text, as well as genre, intonational, timbral and tonal patterns.
Keywords: Eduard Patlayenko, Vladislav Khodasevich, “Fisherman”, “Guest”, “Friends! Friends!”, vocal cycle “ Three Perspectives ”, chamber vocal work
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Tatiana S. Ekimenko, Mariya A. Savchenko RUNIC ORATORIO “KALEVALA” BY ROMAN ZELINSKY: FEATURES OF THEMATISM AND INTERPRETATION OF THE CYCLE| 66-87 |
Abstract: The authors focus on the runic oratorio “Kalevala” by Roman Zelinsky, examining it in the terms of thematic and form-building features. The article analyzes for the first time the diverse stylistic origins of the thematism, development techniques, and the specifics of compositional processes. The history of the work’s creation is traced, and the peculiarities of its three editions are noted. The authors conclude that in Zelinsky's runic oratorio, the Kalevala heroes received a new interpretation. In his composition, the composer actualized the Christian motifs that present in Lönnrot's poem, seeing analogies between Kalevala characters and biblical heroes. To embody this original concept, he organically combined elements of Western European and traditional Karelian-Finnish musical culture in his runic oratorio.
Keywords: Roman Zelinsky, Elias Lönnrot, "Kalevala", runic oratorio, dispersed choral fugue, fugato, Karelian rune, musical symbols of the Baroque era
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Fang Liu, Anastasia B. Shulyndina PECULIARITIES OF THE MODERN INTERPRETATION OF AN ANCIENT CHINESE LEGEND IN THE MUSICAL “BUTTERFLIES” BY SANH BAO: IDEAS, SYMBOLS, HEROES | 88-112 |
Abstract: Sanh Bao's musical “Butterflies”, which has gained great popularity both in China and abroad, is a significant phenomenon in modern Chinese theatrical culture. The plot of the musical is based on an ancient Chinese legend about the love of Liang Shanbo and Zhu Yingtai, who decided to leave this world to unite in eternity. The immense popularity of the play is due to the cosmological nature of the theme, the multifaceted ideas, their relevance to modern society, and its humanistic pathos. The dramaturgy of the musical is based on the juxtaposition of two choices presented to the main characters: to attain true (human) existence through love (the main characters) or to maintain an incomplete, ghostly existence (butterfly-people). Sanh Bao's musical is virtually unknown in Russia. This article is an attempt to analyze the main ideas, dramaturgy, and musical language of the work in the context of modern Chinese culture.
Keywords: Chinese theatre, Sanh Bao, musical, “Butterflies”, Liang Shanbo and Zhu Yingtai, ancient legend
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Darya I. Sannikova MUSICALFEATURES OF «THREE ROMANCES ON POEMS OF ANCIENT CHINESE POETS» BY ZUO ZHEN GUAN | 113-124 |
Abstract: The aim of the article is to determine the musical features of the vocal cycle «Three Romances on poems of ancient Chinese poets» by Zuo Zhen-Guan. When creating romances, the composer started from the poetic form of ancient Chinese poetry, built the dramaturgy of the cycle in accordance with the poetic images of love «lyrics of separation», themes of loneliness and fading. Zuo Zhen-Guan builds a musical fabric based on the horizontal unfolding of pentatonic scales, which shows a reliance on the traditions of Chinese musical culture. An individual stylistic touch is the combination of two modal structures: by superimposing pentatonic scales on white and black keys, the composer achieves striking modal-phonic effects. It is established that the vocal cycle of Zuo Zhen-Guan is an example of a subtle embodiment of distinctive Chinese culture in music.
Keywords: Zuo Zhen-Guan, «Three Romances on poems of ancient Chinese poets», Chinese poetry, pentatonic scales, texture
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Nadezhda A. Travina THE COMPOSITION A-RONNE BY LUCIANO BERIO AS A TYPICAL EXAMPLE OF HIS MUSICAL PHONOLOGY | 125-139 |
Abstract: The article is devoted to the features of the artistic system of the Italian composer Luciano Berio (1925–2003) known as musical phonology, demonstrated through the example of the composition A-Ronne (1975). In the 1950s, Berio and his colleagues at the Studio di Fonologia Musicale were interested in such a field of linguistic science as phonology, drawing on the fundamental work of N. S. Trubetzkoy «Principles of Phonology». Berio creatively integrated the main aspects of this book into compositions for voice and gradually developed a new approach to the unity of word and sound.
Keywords: Luciano Berio, A-Ronne, phonology, performance, vocal music, word
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Boris D. Napreev ON ART, ON THE PROFESSION, ON HIMSELF: FROM CONVERSATIONS WITH COMPOSER BORIS NAPREEV | 140-153 |
Abstract: In July 2024, Boris Dmitrievich Napreev, a composer and musicologist, one of the longest-serving teachers of Petrozavodsk State Glazunov Conservatoire, who had worked at our institution since 1977, passed away. This publication is based on the materials of conversations with Boris Dmitrievich, conducted by Yuri Petrov, his student in composition class, from October to December 2023. The discussions covered a wide range of topics related to the milestones in Napreev's biography, his teachers, and his views on creativity and pedagogy. The answers not only help capture the facets of his personality, but also preserve the composer's voice and his individual intonation.
Keywords: Boris Dmitrievich Napreev, Yuzef Geymanovich Kon, Valentina Grigorievna Patrasheva, Georgy Nikolaevich Ivanov, Elena Romanovna Breznyuk, compositional creativity, musical pedagogy
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Boris D. Napreev “FUNDAMENTALS OF ORCHESTRATION” BY N. A. RIMSKY-KORSAKOV: ON THE HISTORY OF ITS CREATION AND PUBLICATION | 154-167 |
Abstract: The article is devoted to the “Fundamentals of Orchestration”, a unique musicological work by N. A. Rimsky-Korsakov. The author investigates the history of its creation in the context of time and the composer's orchestral thinking. Special attention is paid to the principles used by the composer in selecting illustrative material. The article highlights the work of M. O. Steinberg, who compiled numerous sketches by Rimsky-Korsakov and prepared a textbook version for publication that closely aligns with the author's intent.
Keywords: N. A. Rimsky-Korsakov, M. O. Steinberg, “Fundamentals of Orchestration”, symphony orchestra, A. K. Glazunov, “superorchestra”
