Contemporary Musicology最新文献

{"title":"Anton Webern and the Renaissance Tradition","authors":"Irina I. Snitkova","doi":"10.56620/2587-9731-2023-3-026-039","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-026-039","url":null,"abstract":"The composers of the postwar avant-garde trend in music perceived Anton Webern’s music primarily as a brilliant expression of a break with tradition. Nonetheless, what was perceived upon first glance as a manifestation of innovatory radicalism, upon more careful examination revealed to a greater degree its obvious historical genesis. Entirely different ideas and values disclosed themselves beyond Webern’s serial precepts — a profound symbolism permeated with mysticism and elements of developed Medieval and Renaissance traditions of ‘‘parametric’’ musical thinking. This article demonstrates in a thesis manner observations tracing out the lines of connection between the new elements of structural compositional logic of certain oeuvres by Webern and the traditional ideas of the polyphonic works by the Renaissance composers, primarily the ‘‘Great Flemish Masters,’’ the most sophisticated artists of counterpoint, giving special attention in their musical compositions to the architectonic organization of form, in whose music Webern experienced an indelibly profound interest during the course of his entire life. In the opinion of many researchers, certain aspects of Webern’s music become more visible, if they become connected to his profound knowledge of and fondness for such composers from the Netherlands as Dufay, Josquin, Ockeghem, Isaac, etc. The concept of tradition in the context of this article is not exhausted by the technological aspects of polyphony, but also presumes a mystical philosophical constituent connected with a particular system of symbolic encoding which plays a substantial role in both cases.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135214187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Creation of the Myth about the Failure of Georges Bizet’s Carmen. Following the Materials of the French Press of the Years 1875–1883","authors":"Anna V. Bulycheva, Elena A. Arutyunova","doi":"10.56620/2587-9731-2023-3-040-062","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-040-062","url":null,"abstract":"The stage fate of Georges Bizet’s last opera Carmen has become surrounded by legends for a long time. For a long period of time in musicology in Russia and in other countries it was considered that the composition was received rather coldly by the critics, whereas the world premiere, which took place on March 3, 1875 resulted in a failure. An analysis of the articles published in the periodicals of 1875 reveals the erroneousness of this fact: the reviews of the first production of Carmen were almost unanimously positive, and not a single harshly negative review was published. In order to understand the reason for the origin of the myth about the opera’s failure, it is worth examining the critical articles published from the moment of its first production up to the revival of Carmen at the Opéra-comique in 1883. The nineteenth century became a time of flourishing of the French press. In Paris alone there were over a hundred newspapers and illustrated magazines, around sixty of which responded to the premiere of Carmen. Among the authors of the reviews there were both significant musicologists, composers and literati, as well as journalists whose names have remained unknown. Virtually every critical article examines important questions of the libretto, the score, the performance and the formatting. It follows from the materials of the press that after the first production the main criticism was expressed in regard to the chosen plotline and the libretto, while the music received quite favorable estimation. After Bizet’s death in June 1875, the opera remained under the steadfast attention of the public, continued to receive exuberant reviews and was withdrawn from the repertoire of the Opéra-comique after two successful seasons due to the requirement of renewing the repertoire. In 1883 Carmen returned to the Paris scene as a masterpiece acknowledged throughout the world, and it was particularly at the moment of the opera’s revival the myth began to form of the failure of its premiere. This legend, created by the directorate of the Opéra-comique for the sake of attracting the audiences’ attention, was quickly disseminated and fixated itself into the consciousness of the public and the critics. Not least important was the role played in its popularization by the effect of substitution of reminiscences and the image formed around Bizet of a romantic artist and an unrecognized genius, which predominated in the 19th century.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Sources for Reconstruction of Piotr Lambin’s Artistic Biography","authors":"Elena N. Baiguzina, Elizaveta M. Kolodina","doi":"10.56620/2587-9731-2023-3-082-106","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-082-106","url":null,"abstract":"The present article is devoted to analysis of the sources for the reconstruction of the artistic biography of the S. Petersburg-based theater artist Piotr Brisovich Lambin (1862–1923). The research makes use of methods of reconstruction, the biographical and the iconographic method, as well as the method of artistic-stylistic analysis. On the basis of the archival documents of the RGIA (Russian State Historical Archive) the main landmarks of Lambin’s life and artistic activities have been revealed: information about his parents, his christening, his education and academic progress at the Academy for the Arts, his promotion up the career ladder to the position of decorator of the Imperial Theaters during the period from 1885 to 1919, his state awards, his material and family positions. The reference edition “Ves’ Peterburg” [“All of St. Petersburg”] (1895–1916) has made it possible to ascertain the addresses of Lambin’s residences and to reveal that they were situated at close proximity to the Mariinsky Theater. The study of the graphic sources (over 500 sketches by the artist) from various museum funds has made it possible to assemble a list of theatrical productions (of which there are presently 141) on which the master hand worked. An analysis of the sketches makes it possible to come up with the conclusion that Lambin, while being a continuer of the official romantic-academic tradition on the stages of the Imperial theaters, had a responsive approach to the influences of his time, absorbing alternative stylistic tendencies (the Symbolist, the Impressionist, the World of Art trend) which it was not possible to manifest in full measure on the mainstream theatrical stage. The article illuminates for the first time the main landmarks of the paths of life and art of Piotr Lambin, whose legacy has not become an object of academic interest up to the present time. Lambin, undoubtedly, was not in the vanguard of the artistic processes, he pertained to the artists of the “second echelon” without whom the work of the Imperial theaters of the late 19th and the early 20th centuries would be unthinkable.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135212997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Enigma of the Golden Cockerel: Catch It if You Can","authors":"Inna Naroditskaya","doi":"10.56620/2587-9731-2023-3-107-125","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-107-125","url":null,"abstract":"Pushkin’s fable was a creative remake of a tale by Washington Irving, which he wrote during his travel to Granada (the Alhambra) with Pushkin’s pal, Russian diplomat pal, Count Dmitry Dolgorukov. This legend about an Arabic Astrologer (from Tales of Alhambra, 1832), undergoing metamorphosis was relocated from Spain to Russia and Shamakha. Current research delves into the connection between the two texts, tracing the transformation of the main characters in the context of the central plotlines. I explore how and why Irving’s gothic princess turned into Pushkin’s Tsarina of Shamakha and how the plotline relates to Russia’s historical annexation of Azerbaijan. The core of my research is the musical language Rimsky-Korsakov employs to create the fairytale and Eastern characters. Is there any positive Russian imagery in the opera? Why is Rimsky-Korsakov’s Golden Cockerel considered an anti-opera? To what extent can Stravinsky’s first ballets, Firebird and Petrushka, be viewed as the continuation of Rimsky-Korsakov’s stream of fairytales? Extending author’s work on Russian operas and Rimsky-Korsakov in particular, this research originated at the invitation to write program notes for the Santa Fe Opera production of The Golden Cockerel in 2017.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Role of the ‘‘Passionate’’ Rhythms of French Poetry of the 17th and Early 18th Centuries in the Genres of the chanson à danser and the danse chantée","authors":"Larisa D. Pylaeva","doi":"10.56620/2587-9731-2023-3-009-025","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-009-025","url":null,"abstract":"The article is devoted to the rhythms of French Baroque poetry, which are considered as an important source of emotional expressiveness in the dances of that time period. One example chosen is the Sarabande, as presented in the genres of the chanson à danser and the danse chantée by French composers of the 17th and the early 18th centuries. Special attention is given to the so-called unbalanced phrasing of poems, which leads to the emergence of ‘passionate rhythms.’ Their expressiveness was stipulated by the three types of accents present in the French spoken language — the grammatical, the logical and the pathetic (oratorical), which, according to Jean-Jacques Rousseau, create an impact on musical intonation and are important for composers who write music in dance forms. The equivalents of the grammatical accents, which mark the open or the closed sounds, as well as the brevity vs. the length of the syllables, are presented by the downbeats and the offbeats of the measures. The logical accents indicate the connections and relationships of the expressed thoughts uttered in the sentences of speech. The pathetic, or oratorical accents express the feelings of the speaker and communicate them to the listeners.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135214183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Dancing Prometheus: Beethoven and Ballet","authors":"Larissa V. Kirillina","doi":"10.56620/2587-9731-2023-3-063-081","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-3-063-081","url":null,"abstract":"Beethoven’s music has frequently appeared in ballet productions in the 20th and early 21st centuries. However, his only full-scale ballet, Die Geschöpfe des Prometheus (1801), remains outside of the theatrical mainstream. Meanwhile, this work was important for both of its creators: the great choreographer Salvatore Viganò and Beethoven. The ‘Promethean’ line in Beethoven’s and Viganò’s legacy continued after the ballet’s premiere in 1801. A number of Beethoven’s works from 1801–1804 are united by the so-called ‘Promethean theme’ (the quotation or reminiscence from the final counterdance of the ballet). Viganò, not satisfied with the Vienna production of Prometheus of 1801, staged an expanded version of the ballet in Milan in 1813. In that performance, it became possible to accentuate the moments covert in the Vienna version: the striking analogies between the images of Prometheus and Christ. Being a good musician, Vigano used fragments of Beethoven’s other new works, besides Prometheus, in his ballets in Milan. Their artistic quests ran parallel to each other, although Beethoven never turned to the genre of the ballet afterwards. The magnificent orchestral score of Die Geschöpfe des Prometheus has taken on a life of its own. The ballet in its 1801 version was rarely staged during the 19th and the 20th centuries. However, there has been a revival of interest in it in the 21st century. In recent years, a number of stage incarnations of Beethoven’s ballet have appeared, in which the plot has undergone various transformations. Francesca Harper proposed a reading of the work by means of contemporary dance (2005, New York). At the same time, Helena Kazarova staged Die Geschöpfe des Prometheus in an authentic manner in 2016 (Czech Republic, Valtice Castle Theater). Another solution – a very ascetic and symbolist one – was proposed by Attila Egerhazy, who staged the ballet in 2017 by means of the Dance Center of the Prague Conservatory. Finally, in 2021 in Bologna, choreographer Monica Miniucchi created a performance based on Die Geschöpfe des Prometheus bearing very little resemblance to a traditional ballet, performed mainly by means of pantomime. All these endeavors show that Beethoven’s sole ballet is by no means a museum legacy of the past. It has the ability of becoming an organic part of contemporary musical theater.","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135213684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"My Academic Advisor Natalia Sergeevna Gulyanitskaya","authors":"V. V. Aleev","doi":"10.56620/2587-9731-2023-1-043-055","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-1-043-055","url":null,"abstract":"","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121098637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CAN JOURNALISM BE DANCED? FROM THE HISTORY OF 19TH CENTURY BRITISH BALLET","authors":"Yulia A. Agisheva","doi":"10.56620/2587-9731-2023-2-047-067","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-2-047-067","url":null,"abstract":"","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129970684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"About the Interpretation of a Work of Art","authors":"Natalia S. Gulyanitskaya","doi":"10.56620/2587-9731-2023-1-005-019","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-1-005-019","url":null,"abstract":"","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116592627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"E.K. MALINOVSKAYA AND BALLET","authors":"P. Gordeev","doi":"10.56620/2587-9731-2023-2-068-094","DOIUrl":"https://doi.org/10.56620/2587-9731-2023-2-068-094","url":null,"abstract":"","PeriodicalId":211901,"journal":{"name":"Contemporary Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131924063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}