Music Journal of Northern Europe № 4 (40), 2024
Contents
Irina V. Koposova
“THE SСRATCH ORCHESTRA” AS A SCHOOL OF EXPERIMENTAL COMPOSITION OF CORNELIUS CARDEW | 1-22
Citation link: Копосова, И. В. "The Scratch Orchestra" как школа экспериментальной композиции Корнелиуса Кардью / Ирина Владимировна Копосова, Марина Николаевна Сырбу // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 1-22. URL: https://doi.org/10.61908/2413-0486.2024.40.4.1-22
Natalia P. Hilko
COMPOSITIONAL SPECIFICS OF THE FRENCH “LA SONATE CYCLIQUE” | 23-48
Citation link: Хилько, Н. П. Композиционная специфика французской "циклической" сонаты / Наталья Павловна Хилько // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 1-22. URL: https://doi.org/10.61908/2413-0486.2024.40.4.23-48
Ekaterina G. Okuneva, Olga V. Shmakova
MARTIN ROMBERG’S CHORAL MUSIC: STYLISTIC FEATURES | 49-79
Citation link: Окунева, Е. Г. Хоровая музыка Мартина Ромберга: черты стиля / Екатерина Гурьевна Окунева, Ольга Владимировна Шмакова // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 1-22. URL: https://doi.org/10.61908/2413-0486.2024.40.4.49-79
Alexander V. Sarzhant
TRIO-SYMPHONY BY M. KOLLONTAY: FEATURES OF COMPOSITION AND THEMES | 80-90
Citation link: Саржант, А. В. "Трио-симфония" М. Коллантая: особенности композиции и тематизма / Александр Владимирович Саржант // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 1-22. URL: https://doi.org/10.61908/2413-0486.2024.40.4.80-90
Tatiana S. Ekimenko
“AULETICA”, OR THE ART OF PLAYING THE OBOE BY EDUARD PATLAYENKO: ON THE INTERPRETATION OF POLYPHONY | 91-108
Citation link: Екименко, Т. С. "„Auletica“, или Искусство игры на гобое" / Татьяна Сергеевна Екименко // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 91-108. URL: https://doi.org/10.61908/2413-0486.2024.40.4.91-108
Ivan D. Minyakov
DIALOGUES WITH VADIM BIBERGAN | 113-124
Citation link: Миняков, И. Д. В диалоге с Вадимом Биберганом / Иван Дмитриевич Миняков // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 109-128. URL: https://doi.org/10.61908/2413-0486.2024.40.4.109-128
Marina M. Podguzova
EKATERINA WALTER-KÜHNE: AT THE CROSSROADS OF TIMES. THE FATE OF RUSSIAN CULTURAL FIGURES ABROAD | 129-144
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
Natalia M. Khuzina
RUSSIAN CONDUCTORS OF THE XX CENTURY ON THE PEDAGOGY OF CONDUCTING: THROUGH THE PAGES OF MEMOIRS | 145-158
Citation link: Хузина, Н. М. Отечественные дирижеры XX столетия о педагогике дирижирования: по страницам воспоминаний / Наталья Михайловна Хузина // Музыкальный журнал Европейского Севера. 2025. № 4 (40). С. 145-158. URL: https://doi.org/10.61908/2413-0486.2024.40.4.145-158
MORE DETAILS
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Irina V. Koposova “THE SСRATCH ORCHESTRA” AS A SCHOOL OF EXPERIMENTAL COMPOSITION OF CORNELIUS CARDEW | 1-22 |
Abstract: The publication is devoted to the repertoire of The Scratch Orchestra, a British mixed improvisational group created by Cornelius Cardew. The authors focus on five categories (improvisational ritual, scratch music, popular classics, composition, and research project) that made up the ensemble's repertoire. The specifics and functioning of each category are determined, and the hierarchy that arises between them is revealed. On this basis, the conclusion is drawn: the development of samples belonging to each category for the team members was equivalent to the stages of comprehension of the laws of experimental art. Within the framework of The Scratch Orchestra, Cardew established a unique practice-oriented school of experimental composition, which led to the creation of a significant body of experimental works by the members of the ensemble, and formed an entire generation of British experimental composers.
Keywords: experimental art, Cornelius Cardew, The Scratch Orchestra, improvisation, text scores
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Natalia P. Hilko COMPOSITIONAL SPECIFICS OF THE FRENCH “LA SONATE CYCLIQUE” | 23-48 |
Abstract: The article is devoted to the compositional features of the French “la sonate cyclique”, which was formed as a type in the twentieth century. The author's attention is focused on the three-part cycle without sonata form, which is most often found in chamber opuses of C. Debussy, F. Poulenc, G. Tailleferre and other French composers. In the organization of this cyclic type principles of sonata and suite organization are combined. Suite characteristics manifest in the predominance of genre thematism, multi-thematic fast parts, and in developed tonal plans; in the organization of form, rondality and variation come to the forefront. Sonata unity is achieved by the simultaneous action of syntagmatic and paradigmatic connections operating at different levels of the cycle. Syntagmatics organizes multi-element thematic and tonal sequences within parts. Paradigmatics aims to establish genre, intonation, pitch, and structural similarities that arise both within and between parts.
Keywords: V. d’Indy, «Cours de composition musicale», “la sonate cyclique”, C. Debussy, M. Ravel, F. Poulenc, G. Tailleferre
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Ekaterina G. Okuneva, Olga V. Shmakova |
Abstract: Contemporary Scandinavian choral music increasingly attracts the attention of performing groups both abroad and in Russia due to its deep originality and distinctiveness. The article examines the choral work of the contemporary Norwegian composer Martin Romberg, who works within the framework of Neo-Romantic poetics and style. A detailed analysis is given to the three of his choral cycles: Aradia (2012), Rúnatal (2012), and Requiem of Runes (2022). The themes of the works reflect the Norwegian composer’s interest in mysticism and mythology, as well as in archetypal motifs and plots. The relationship between words and music in his choral compositions is quite traditional. Features of the modal-intonation sphere and structural organisation of the works are determined both by the general artistic concept and the phonetic properties of the language of the poetic sources, as well as the specifics of their verse organisation (e.g., sound characteristics of alliterative versification). Along with a general reliance on a Romantic tonal idiom, Romberg’s musical language reveals elements of medieval modal archaism, jazz, and Russian song traditions intertwined in an organic unity. Works of the 2010s use elements of phonemic composition technique and Klangfarbenmelodie [“sound-colour melody”], along with various phonic approaches. In a later work (Requiem of Runes), the choral writing is simplified, but interest in timbral experiments remains, manifested in an unusually low tessitura for all voices, driven by ideas of “depth” and register “ascent”.
Keywords: Martin Romberg, Norwegian music, choral music of the 21th century, Aradia, Rúnatal, Requiem of Runes
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Alexander V. Sarzhant TRIO-SYMPHONY BY M. KOLLONTAY: FEATURES OF COMPOSITION AND THEMES | 80-90 |
Abstract: The purpose of the author’s research is to identify the compositional and thematic features of the Trio Symphony op. 20 for organ by M. Kollontai. The basis of the theme is the Russian folk song “As the Evening Falls”. The folk quotation carries semantic significance, helping to highlight the theme of life and death, which defines the concept of the piece. The three-part composition includes a fugue on three themes as the central section of the form, in which the contrapuntal combination of themes creates a powerful climax. The purposeful development and transformation of thematism in the reprise indicate the manifestation of symphonism. The Trio Symphony reveals a synthesis of Baroque organ traditions, contemporary musical language, and Russian folklore.
Keywords: M. Kollontai, thematism, folklore, organ, baroque traditions, fugue, symphonism
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Tatiana S. Ekimenko “AULETICA”, OR THE ART OF PLAYING THE OBOE BY EDUARD PATLAYENKO: ON THE INTERPRETATION OF POLYPHONY | 91-108 |
Abstract: The author of the article focuses on Eduard Patlayenko's polyphonic cycle Auletica, or the Art of Oboe Playing (seven preludes and fugues for oboe solo). The work examines the structure of the cycle and analyzes the features of polyphony in fugue in E, C, and D. Means for performing polyphony on the oboe are identified and described. In a monophonic presentation, the theme splits into several melodic lines, each of which is relatively independent and has its own vocal structure. Utilizing the possibilities of hidden polyphony, Patlayenko models 2-, 3- and 4-voice polyphonic texture in monophony. The author comes to the conclusion that the main discovery of the composer in this cycle is the creation of an illusion of a polyphonic texture, where voices are woven into one line, enabling performance on the oboe.
Keywords: Eduard Patlayenko, polyphonic cycle, “Auletica”, or the Art of Oboe Playing (seven preludes and fugues for oboe solo), preludes and fugues, theme, response, stretta, counter-subject
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Ivan D. Minyakov DIALOGUES WITH VADIM BIBERGAN | 113-124 |
Abstract: The interview with Vadim Bibergan explores his personal views on performance issues with Russian folk instruments, the specifics of composing for a folk orchestra, and historicism as the foundation of his musical sphere. The composer discusses challenges and prospects of orchestral and ensemble music-making. Particular emphasis in the interview is placed on Bibergan’s reflections on the button accordion and folk wind instruments. The composer also highlights certain biographical aspects that are important for interpreting his creative legacy and have not yet been mentioned in publications.
Keywords: Vadim Bibergan, interview, historicism, Russian folk instruments, orchestra, button accordion, wind folk instruments
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Marina M. Podguzova EKATERINA WALTER-KÜHNE: AT THE CROSSROADS OF TIMES. THE FATE OF RUSSIAN CULTURAL FIGURES ABROAD | 129-144 |
Abstract: The publication is dedicated to the personality of Catherine Walter-Kühne (1870–1931) and for the first time sheds light on the creative activities of this outstanding Russian harpist during her emigration. Being a brilliant harpist, soloist with the orchestras of the Italian Opera and the Mariinsky Theater, and a professor at St. Petersburg Conservatory, abroad she continued her artistic career as a pianist, returning again to the instrument with which she began her professional journey. Archival materials newly introduced into scientific discourse reveal previously unknown facts about the final period of the outstanding performer’s work, which took place outside of Russia, and also make it possible to form a different view of the artistic fate of E. A. Walter-Kühne in the historical circumstances of her time.
Keywords: E. A. Walter-Kühne, harp, harpist, harp art, St. Petersburg Conservatory
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Natalia M. Khuzina RUSSIAN CONDUCTORS OF THE XX CENTURY ON THE PEDAGOGY OF CONDUCTING: THROUGH THE PAGES OF MEMOIRS | 145-158 |
Abstract: The article is devoted to the centenary of the opening of the first conducting classes in Russia and focuses on the memoirs of outstanding Russian conductors as a source of methodological thought. Reflecting on methodological and pedagogical aspects of the process of teaching and training young conductors in the modern era, the author emphasizes the exceptional value of memoir literature for conducting pedagogy worthy of thorough study. Special attention in the article is focused on the key issues of the development of professional thinking of future conductors.
Keywords: conducting career, conducting pedagogy, professional thinking, composer's idea, score interpretation
