{"title":"m. p.穆索尔斯基为《鲍里斯·戈杜诺夫》所作的管弦乐乐谱空白处b.v.阿萨菲耶夫未发表的注释。","authors":"N. I. Teterina","doi":"10.36871/hon.202103014","DOIUrl":null,"url":null,"abstract":"This article is devoted to the initial stage in the history of studying M. P. Musorgsky's orchestral style. The first researchers who gain access to the composer's autograph of the orchestral score were B. V. Asafyev and P. A. Lamm. The musicians edited the score of the opera \"Boris Godunov\" for the premiere, which took place at the State Academic Opera and Ballet Theatre on February 16, 1928, when after a half-century interval, the author's original orchestration was performed. Two short, but fundamentally important articles by B. V. Asafyev, as well as his notes in the margins of the handwritten score, opened a new stage in the scholarly and artistic understanding of Musorgsky's orchestral dramaturgy and orchestral stylistics.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"118 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"B. V. ASAFYEV'S UNPUBLISHED NOTES IN THE MARGINS OF M. P. MUSORGSKY'S ORCHESTRAL SCORE FOR \\\"BORIS GODUNOV\\\"\",\"authors\":\"N. I. Teterina\",\"doi\":\"10.36871/hon.202103014\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This article is devoted to the initial stage in the history of studying M. P. Musorgsky's orchestral style. The first researchers who gain access to the composer's autograph of the orchestral score were B. V. Asafyev and P. A. Lamm. The musicians edited the score of the opera \\\"Boris Godunov\\\" for the premiere, which took place at the State Academic Opera and Ballet Theatre on February 16, 1928, when after a half-century interval, the author's original orchestration was performed. Two short, but fundamentally important articles by B. V. Asafyev, as well as his notes in the margins of the handwritten score, opened a new stage in the scholarly and artistic understanding of Musorgsky's orchestral dramaturgy and orchestral stylistics.\",\"PeriodicalId\":228633,\"journal\":{\"name\":\"Arts education and science\",\"volume\":\"118 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"1900-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Arts education and science\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.36871/hon.202103014\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Arts education and science","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.36871/hon.202103014","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本文致力于研究M. P.穆索尔斯基管弦乐风格的初始阶段。最早获得作曲家亲笔签名的研究人员是B. V. Asafyev和P. A. Lamm。1928年2月16日,在国家学术歌剧和芭蕾舞剧院举行的首演中,音乐家们编辑了歌剧“鲍里斯·戈杜诺夫”的乐谱,在半个世纪的间隔之后,作者的原始管弦乐演奏。b·v·阿萨费耶夫写的两篇短小但极为重要的文章,以及他在手写乐谱空白处的注释,为对穆索尔斯基管弦乐戏剧和管弦乐文体学的学术和艺术理解开辟了一个新阶段。
B. V. ASAFYEV'S UNPUBLISHED NOTES IN THE MARGINS OF M. P. MUSORGSKY'S ORCHESTRAL SCORE FOR "BORIS GODUNOV"
This article is devoted to the initial stage in the history of studying M. P. Musorgsky's orchestral style. The first researchers who gain access to the composer's autograph of the orchestral score were B. V. Asafyev and P. A. Lamm. The musicians edited the score of the opera "Boris Godunov" for the premiere, which took place at the State Academic Opera and Ballet Theatre on February 16, 1928, when after a half-century interval, the author's original orchestration was performed. Two short, but fundamentally important articles by B. V. Asafyev, as well as his notes in the margins of the handwritten score, opened a new stage in the scholarly and artistic understanding of Musorgsky's orchestral dramaturgy and orchestral stylistics.