Music Journal of Northern Europe № 1 (41), 2025
Contents
FROM THE EDITOR-IN-CHIEF | 1-2
Citation link: От главного редактора // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 1-2. URL: https://doi.org/10.61908/2413-0486.2025.41.1.1-2
Tatyana V. Kraskovskaja, Aleksey A. Kubyshkin
Citation link: Красковская, Т. В. "Торжественная кантата" А. К. Глазунова на текст К. Р. в аспекте морфологии и поэтики жанра / Татьяна Викторовна Красковская, Алексей Александрович Кубышкин // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 3-20. URL: https://doi.org/10.61908/2413-0486.2025.41.1.3-20
Marina M. Podguzova
«KING OF THE HARP »: A SKETCH OF ALBERT ZABEL’S PORTRAIT | 21-38
Citation link: Подгузова, М. М. "Царь арфы": эксиз портрета Альберта Цабеля / Марина Михайловна Подгузова // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 21-38. URL: https://doi.org/10.61908/2413-0486.2025.41.1.21-38
Citation link: Память сердца: воспоминания об Ирине Николаевне Барановой : (к 70-летию со дня рождения) / подготовка к публикации – И. В. Копосова // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 39-58. URL: https://doi.org/10.61908/2413-0486.2025.41.1.person
Anna G. Chupova
MUSIC IN THE ARTISTIC WORLD AND SRUCTURE OF GÜNTER GRASS’S NOVEL DIE BLECHTROMMEL (PART ONE) | 59-78
Citation link: Чупова, А. Г. Музыка в художественной мире и структуре романа Гюнтера Грасса "Жестяной барабан". Ч. 1 / Анна Гурьевна Чупова // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.59-78
Tatiana S. Ekimenko
Citation link: Екименко, Т. С. О двух карельских напевах в музыке Александра Белобородова : (к проблеме "композитор и фольклор") / Татьяна Сергеевна Екименко // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.79-92
Anastasia A. Upanova
Citation link: ТУпанова, А. А. "Богатырский концерт" для домры и симфонического оркестра Евгения Петрова: особенности композиции и драматургии / Анастасия Андреевна Упанова // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.93-105
Niu Jingjing
“BELLS IN THE FOG”: THE PHENOMENON OF LYRICAL SONORICS IN THE WORK OF E. DENISOV | 106-116
Citation link: Ню Цзинцзин. "Колокола в тумане": феномен лирической сонорики в творчестве Э. Денисова / Ню Цзинцзин // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.106-116
Andrey A. Chekalin
STRING QUARTETS BY B. TISHCHENKO THROUGH THE PRISM OF D. SHOSTAKOVICH’ TRADITIONS | 117-132
Citation link: Чекалин, А. А. Струнные квартеты Б. Тищенко в преломлении традиций Д. Шостаковича / Андрей Андреевич Чекалин // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.117-132
Polina V. Marchenko
Citation link: Марченко, П. В. Коллекция монолингвальных аэрофонов из фонда "Центра музыкальных древностей В. И. Поветкина" / Полина Викторовна Поветкина // Музыкальный журнал Европейского Севера. 2025. № 1 (41). С. 59-78. URL: https://doi.org/10.61908/2413-0486.2025.41.1.133-144
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Tatyana V. Kraskovskaja, Aleksey A. Kubyshkin |
Abstract: The article examines Alexander Glazunov’s “Solemn Cantata”, created to the text by Grand Duke Konstantin Romanov (K.R.) for the 100th anniversary of Alexander Pushkin’s birth. The analysis of the musical and expressive means in the incidental cantata and the interaction between its musical and textual series reveals the work’s original implementation of the characteristic thematic spheres of the genre (glorification, epic narration, and prayer) and the central role of choral texture in conveying the composition’s content.
Keywords: A. K. Glazunov, Konstantin Romanov, music and word, choral texture, incidental cantata
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Marina M. Podguzova «KING OF THE HARP »: A SKETCH OF ALBERT ZABEL’S PORTRAIT | 21-38 |
Abstract: The publication is dedicated to Albert Zabel (1834–1910), an outstanding virtuoso harpist of the Romantic era and a St. Petersburg German. He arrived in Russia in 1855 and stayed there permanently. For half a century, Zabel amazed listeners with his virtuoso and expressive performances. The relevance and novelty of the publication lie in its new research perspective, which examines the harpist’s artistic career for the first time in the context of pan-European and Russian musical culture in the second half of the 19th century.
Keywords: Albert Zabel, harp, harpist, harp art, Russian performance schools, virtuoso style
Abstract: January 2025 marked the 70th anniversary of the birth of I. N. Baranova, a musicologist whose life was connected with the Petrozavodsk Conservatory. As a student of Yu. G. Kon, Irina Nikolaevna became a follower of the traditions of the scientific school, which he founded within the walls of our university, established herself as an authoritative scientist and respected teacher. The anniversary was the reason for the publication of memoirs about Irina Nikolaevna, which belong to her friends and colleagues: Kira Iosifovna Yuzhak, Elena Viktorovna Titova, Tatiana Surenovna Kyuregyan, Reuven Aronovich Ostrovsky. Their memory has preserved many details and facts that allow us to recreate the image of I. N. Baranova as a scientist, teacher and a person with a complex of rare moral and ethical qualities.
Keywords: I. N. Baranova, Yu. G. Kon, Petrozavodsk Conservatory, K. I. Yuzhak, E. V. Titova, T. S. Kyuregyan, R. A. Ostrovsky
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Anna G. Chupova MUSIC IN THE ARTISTIC WORLD AND SRUCTURE OF GÜNTER GRASS’S NOVEL DIE BLECHTROMMEL (PART ONE) | 59-78 |
Abstract: The article examines the features of literary and musical dialogue in G. Grass’s novel Die Blechtrommel. The first part focuses on the principles of plot-thematic representation of music and the musician in the novel’s artistic world, as well as the specifics of the functioning of the musical intertext on its pages. The author employs methods developed in Russian intermedia studies, narratology, comparative literature and musicology. The conceptualization of music is considered in several aspects: in the context of the writer’s grotesque and parodic reinterpretation of the Künstlerroman model, as well as through the prism of the polysemy of the main musical image-symbols.
Keywords: Günter Grass, “Die Blechtrommel”, Künstlerroman, drum, musical instruments
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Tatiana S. Ekimenko |
Abstract: The article examines Alexander Beloborodov's approach to traditional Karelian melodies, “You Cuckoo, Cuckoo, Cuckoo” and The “World Awaited the New Moon”, in compositions of different genres and creative periods. The vocal cycle “Karelian Songs” for mezzo-soprano and piano, written during his studies at the Petrozavodsk branch of Leningrad State Conservatory, marked the composer’s initial exploration of folklore sources within the framework of arrangement. In his Symphony, the melody “The World Awaited the New Moon”, used as the main theme of the first movement, develops through imitative polyphony. In the ballet “The Cliff of Two Swans”, folk material is incorporated only as structural elements, recognizable only through analytical examination.
Keywords: Alexander Beloborodov, «You Cuckoo, Cuckoo, Cuckoo», «The World Awaited the New Moon», «Karelian Songs», Symphony, ballet «The Cliff of Two Swans»
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Anastasia A. Upanova
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Abstract: This article is an analytical study dedicated to “’Bogatyrsky Concero” for domra and symphony orchestra by Evgeny Petrov. The composition is considered as a continuation of the single-movement concerto genre, with the focus on the composer’s unique approach to this form in relation to the chosen program. The article examines the compositional and dramaturgical features of the work, the specifics of the thematic material, and the methods used to work with it, as well as the unique performance techniques in the solo part. The research concludes that Petrov's Concerto synthesizes characteristics of both a monothematic cycle and sonata form. This idea is further reinforced by the cleverly constructed narrative layer embedded within the structure of the Concerto, in which there is an interaction between the “real” world of the storyteller and the “fairy-tale” world of the characters in his narrative.
Keywords: E. V. Petrov, “Bogatyrsky Concerto”, concerto for domra, domra and symphony orchestra
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Niu Jingjing “BELLS IN THE FOG”: THE PHENOMENON OF LYRICAL SONORICS IN THE WORK OF E. DENISOV | 106-116 |
Abstract: The article examines the phenomenon of lyrical sonorics in the works of Edison Denisov, focusing on his composition for large orchestra “Bells in the Fog”. The analysis of the piece reveals that Denisov endows sonorities of various forms, timbre colors and intonational structure with exclusively lyrical expressiveness and figurative-semantic function. In “Bells in the Fog” Denisov meticulously develops the color, volume, density, length, dynamics, pitch, and rhythmic pattern of sonorities, which allows him to achieve great emotional depth, sophistication, and sensuality of music, evoking states of enchantment, contemplation of beauty and light, and immersion into the mysterious depths of the human soul and existence.
Keywords: sonorics, lyricism, E. Denisov, “Bells in the fog”, textured forms, compositional technique, stripes, streams, clusters, spots
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Andrey A. Chekalin STRING QUARTETS BY B. TISHCHENKO THROUGH THE PRISM OF D. SHOSTAKOVICH’ TRADITIONS | 117-132
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Abstract: The article examines Boris Tishchenko’s (1939–2010) string quartets in the context of their connections with Dmitri Shostakovich’s quartet works. The study reveals a number of common features, such as similarities in the genre-based origins of thematic material, the use of polyphonic techniques of developing musical ideas, and common trends in form-building, manifested both at the level of syntax and in the overarching structures of the cycles. In addition, the article highlights the distinct features of Tishchenko's quartets, positioning them as an autonomous genre-stylistic phenomenon.
Keywords: Boris Tishchenko, chamber ensemble music, string quartets, Dmitri Shostakovich, traditions
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Polina V. Marchenko |
Abstract: The article presents the results of a study of traditional clarinet-type aerophones, dated to the 20th century from “V. I. Povetkin Center for Musical Antiquities”. The instruments were donated to the Center's collection by informants from the northeastern (Khvoyninsky and Moshensky) districts of the modern territory of the Novgorod Region and Veliky Novgorod. A comparative analysis of the aerophones’ morphological characteristics is presented, taking into account their acoustic testing.
Keywords: ethnoinstrumentology, monolingual aerophones, “V.I. Povetkin Center of Musical Antiquities”
