Music Journal of Northern Europe № 3 (43), 2025
Alisa S. Komarova, Lyubov A. Kupets
ALEXANDER GLAZUNOV AND ST. PETERSBURG ART NOUVEAU |1–29
Citation link: Комарова, А. С. Александр Глазунов и петербургский модерн / Алиса Станиславовна Комарова, Любовь Абрамовна Купец // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 1–29. URL: https://doi.org/10.61908/2413-0486.2025.43.3.1-29
Irina V. Koposova, Yulia S. Isaeva
LEIF SEGERSTAM: BECOMING A MUSICIAN | 30–51
Citation link: Копосова, И. В. Лейф Сегерстам: становление музыканта / Ирина Владимировна Копосова, Юлия Сергеевна Исаева // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 30–51. URL: https://doi.org/10.61908/2413-0486.2025.43.3.30-51
Alexandra V. Ustugova
BAROQUE VIOLIN IN THE INSTRUMENTAL CULTURE OF GERMANY IN THE XVII – FIRST HALF OF THE XVIII CENTURY | 52–73
Citation link: Устюгова, А. В. Барочная скрипка в музыкально-инструментальной культуре Германии XVII – первой половины XVIII века / Александра Викторовна Устюгова // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 52–73. URL: https://doi.org/10.61908/2413-0486.2025.43.3.52-73
Marina M. Podguzova
ROYAL HARPISTS | 74–93
Citation link: Подгузова, М. М. Августейшие арфисты / Марина Михайловна Подгузова // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 74–93. URL: https://doi.org/10.61908/2413-0486.2025.43.3.74-93
Darya I. Sannikova
MELODRAMAS BY FERENC LISZT: INNOVATIONS IN GENRE INTERPRETATION AND PROBLEMS OF PERFORMANCE PRACTICE | 94–112
Citation link: Санникова, Д. И. Мелодрамы Ференца Листа: новации в трактовке жанра и проблемы исполнительской интерпретации / Дарья Ивановна Санникова // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 94–112. URL: https://doi.org/10.61908/2413-0486.2025.43.3.94-112
Vera I. Nilova
“VYBORG” SYMPHONY BY LEEVI MADETOJA | 113-134
Citation link: Нилова, В. И. «Выборгская» симфония Лееви Мадетойи / Вера Ивановна Нилова // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 113–134. URL: https://doi.org/10.61908/2413-0486.2025.43.3.113-134
Anna G. Chupova
MUSIC IN THE ARTISTIC WORLD AND SRUCTURE OF THE NOVEL BY GÜNTER GRASS DIE BLECHTROMMEL (PART THREE) | 135-156
Citation link: Чупова, А. Г. «Музыка в художественном мире и структуре романа Гюнтера Грасса «Жестяной барабан». Ч. 3 / Анна Гурьевна Чупова // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 135–156. URL: https://doi.org/10.61908/2413-0486.2025.43.3.135-156
Zhu Yongkang
THE SOUNDING REVOLUTION: MUSIC OF CHINESE CINEMA IN THE AGE OF CHANGE | 157-169
Citation link: Чжу Юнкан. Звучащая революция: музыка китайского кинематографа эпохи перемен / Чжу Юнкан // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 157–169. URL: https://doi.org/10.61908/2413-0486.2025.43.3.157-169
Dai Mengying
Chinese National ORIGINS in Accordion Miniatures by Wang Yuping | 170-193
Citation link: Дай Мэнин. Китайские национальные истоки в аккордеонных миниатюрах Ван Юйпина / Дай Мэнин // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 170–193. URL: https://doi.org/10.61908/2413-0486.2025.43.3.170-193
Pavel V. Krasilnikov
SONGS OF JAN CZECZOT AND TOMASZ ZAN (STUDYING THE MUSICAL PAST OF THE URAL REGION) | 194-208
Citation link: Красильников, П. В. Песни Яна Чечота и Томаша Зана (к изучению музыкального прошлого Уральского региона) / Павел Владимирович Красильников // Музыкальный журнал Европейского Севера. 2025. № 3 (43). С. 194–208. URL: https://doi.org/10.61908/2413-0486.2025.43.3.194-208
MORE DETAILS
Alisa S. Komarova, Lyubov A. Kupets
ALEXANDER GLAZUNOV AND ST. PETERSBURG ART NOUVEAU
Abstract: The article examines the influence of the Art Nouveau style on the personality and work of A. K. Glazunov. An attempt is made to reconstruct the composer's life in St. Petersburg at the turn of the 19th – early 20th century, his contacts with architecture and painting, and his relationship with representatives of the art world. Within the framework of the discourse of everyday life, a hypothesis is expressed about the multifaceted influence of the Art Nouveau style in its St. Petersburg version on the composer’s creative thinking.
Keywords: Alexander Glazunov, Art Nouveau style, Saint Petersburg, Alphonse Mucha, Sergei Diaghilev, Mikhail Vrubel, music publishing house “M. P. Belaieff, Leipzig”
Irina V. Koposova, Yulia S. Isaeva
LEIF SEGERSTAM: BECOMING A MUSICIAN
Abstract: The article examines the early stage (1944–1965) in the life of the famous Finnish composer and conductor Leif Segerstam. It covers several distinct phases: his family life, his studies at the Sibelius Academy, and his time at the Juilliard School. Within each phase, the most important events related to the formation of Segerstam's creative personality are highlighted and described, as well as the names of the musicians who influenced him. The conducted research allows us to conclude about the extraordinary talent of the Finnish musician, his bright temperament, and inexhaustible creative energy, presenting him as a person who lived through music and «spoke» its language.
Keywords: Leif Segerstam, Selim Segerstam, Tauno Hannikainen, Jean Morel, Hall Overton, Sibelius Academy, Juilliard School, biography
Alexandra V. Ustugova
BAROQUE VIOLIN IN THE INSTRUMENTAL CULTURE OF GERMANY
IN THE XVII – FIRST HALF OF THE XVIII CENTURY
Abstract: This article examines the features of the structural design of the German Baroque violin in the work of masters at the “Tyrolean” school. Research materials include modern museum exhibits of Baroque violins, as well as written and visual sources of the 17th – first half of the 18th centuries.
Particular attention is paid to the study of the appendix “Theatrum instrumentorum” to M. Pretorius’s treatise, in which the image of the violin is accompanied by a scaled ruler. A comparative analysis of images from treatises and original instruments from the collections of the Russian National Museum of Music (Russia), the University of South Dakota National Music Museum (USA), the Musikkollegium Winterthur (Switzerland) and the Geigenbaumuseum (Germany) reveals main structural features of the German Baroque violin.
Keywords: Baroque violin, violin makers, German musical and instrumental culture, “Tyrolean” school, making bowed instruments, violin performance
Marina M. Podguzova
ROYAL HARPISTS
Abstract: It is widely known that members of the Imperial family had an excellent musical education, and many of them were quite proficient in playing various instruments. However, harp playing in the Imperial family, as a distinct phenomenon in the domestic art of playing this instrument, has not been thoroughly studied. The publication examines this phenomenon for the first time, which was especially widespread among the members of the family of Paul I. The repertoire of amateur harpists belonging to the royal family is analyzed, and conclusions are drawn regarding the skill level of the royal performers. The influence of Western European tradition on the methodology of harp teaching and music-making at the Russian court is revealed.
Keywords: harp, Russian harp art, harpist, musical life of St. Petersburg, Jean-Baptiste Cardon, court musical culture, Grand Duchess Elena Pavlovna, Grand Duchess Maria Pavlovna, Empress Elizabeth Alexeievna, Empress Maria Feodorovna
Darya I. Sannikova
MELODRAMAS BY FERENC LISZT: INNOVATIONS IN GENRE INTERPRETATION AND PROBLEMS OF PERFORMANCE PRACTICE
Abstract: For the first time in Russian musicology, melodramas by F. Liszt are considered. The composer's works are analyzed from the standpoint of French and Austro-German genre traditions. Five melodramas by Liszt present a new interpretation of the genre as a “salon” for voice and piano. The composer was the first to synthesize in it the features of French melodrama with Austro-German traditions, coming from the Lied genre. The piano part in Liszt’s melodramas flexibly follows the plot, displaying ballad images. In organizing his material, the composer used contrasting comparisons, development, thematic transformation, and leitmotifs, while not limiting himself to an illustrative function of music. An analysis of performers' interpretations shows that in Liszt's melodramas there is a sense of equality between the reader and the pianist, while, with the actor's theatrical manner, the music can create cinematic effects, leading to the realm of artistic fusion, located at the intersection of music, painting, literature and cinema.
Keywords: F. Liszt, melodrama, ballad, “Lenora”, “The Sad Monk”, “The Love of a Dead Poet”, “The Blind Singer”, interpretation
Vera I. Nilova
“VYBORG” SYMPHONY BY LEEVI MADETOJA
Abstract: The article analyzes the first – “Vyborg” – symphony by Jean Sibelius’s composition student Leevi Madetoja, written in 1916. It presents critical reviews of its premiere, and assessments of the composer’s work during his lifetime and posthumously. The thematic material, the technique of working with motifs, and the compositional structure of the symphony are characterized. The "Kalevala" origins of the thematic material and composition are revealed, leading to the conclusion about the post-Romantic orientation of the style of the Vyborg Symphony.
Keywords: Jan Sibelius, Leevi Madetoja, Vyborg, symphony, runes, post-Romanticism
Anna G. Chupova
MUSIC IN THE ARTISTIC WORLD AND SRUCTURE OF THE NOVEL BY GÜNTER GRASS DIE BLECHTROMMEL (PART THREE)
Abstract: The final part of the article, devoted to the study of the features of literary and musical dialogue in G. Grass’s novel “Die Blechtrommel”, reveals techniques for transposing stylistic and constructive principles of music. These techniques help, on the one hand, to imitate its acoustic phenomenon, and, on the other hand, to use musical and compositional structures as an alternative to traditional narrative poetics during the period of linguistic crisis “after Auschwitz”.
Keywords: G. Grass, “Die Blechtrommel”, intermediality, musicalization of prose
Zhu Yongkang
THE SOUNDING REVOLUTION: MUSIC OF CHINESE CINEMA IN THE AGE OF CHANGE
Abstract: The article is devoted to the formation of Chinese cinema, which is little studied in European art history, and the peculiarities of the functioning of film music. The periodization and characteristics of the cinematography development in China are given, identifying and describing five distinct stages of its evolution. The aesthetics and features of the revolutionary period in cinema, known as “the period of search and development”, are analyzed. Using works of Chinese directors and composers as examples, the article identifies features corresponding to the general direction of innovation and individual features of Zhao Jiping’s compositional style – the main representative of the new era in the history of Chinese film music.
Keywords: Chinese cinema, film music, the revolutionary “period of search and development”, Zhao Jiping
Dai Mengying
Chinese National ORIGINS in Accordion Miniatures by Wang Yuping
Abstract: The article is devoted to one of the first original works for accordion in Chinese music by Wang Yuping. The aim of the work is to identify national characteristics of the composer's style. For the first time, a wide semantic spectrum of the miniatures “Song of the Arats” and “Spring in Liangshan” was studied in the aspect of the Chinese musical and poetic tradition. Wang Yuping's personal style emphasizes the organic combination of national elements of harmony, rhythm, texture with a Western European stylistic basis. Conclusions about the nature of indirect coordination between the program (titles) and musical content of the pieces, as well as the composer’s techniques for working with folklore material are drawn.
Keywords: Chinese professional music, button accordion, accordion, program miniature, Chinese folklore, national style
Pavel V. Krasilnikov
SONGS OF JAN CZECZOT AND TOMASZ ZAN (STUDYING THE MUSICAL PAST OF THE URAL REGION)
Abstract: The article provides a historical and artistic assessment of song samples created jointly by representatives of Polish-Belarusian culture, Jan Czechot and Tomasz Zahn, during the years of exile in the Southern Urals (1828). The author analyzes the songs which, after almost a hundred years of oblivion (1922), were collected from archival materials and published by Polish philologist Jan Czubek. The scientific novelty of the study lies in the fact that these samples are studied for the first time in a historical context, as well as from the standpoint of musical and poetic content. Song genres are typical of university youth: drinking songs, love and lyrical songs. Close to the pan-European samples of student folklore, they are also closely related to the Belarusian folk song tradition. It is likely that these songs were played in the noble houses of the Orenburg province, where Tomasz Zahn was known as a composer and performer, thereby enriching the multinational and multicomponent musical culture of the region.
Keywords: musical culture of Bashkiria, poetry of the Philomaths, Polish exiles in the Southern Urals, student folklore, Jan Czechot, Tomasz Zan
