Russian Composers Abroad

2021 ◽  
Author(s):  
ELENA DUBINETS
Keyword(s):  
Russian Composers

Rimsky-Korsakov and His World

2018 ◽  
Keyword(s):  
Great Influence ◽  
Igor Stravinsky ◽  
The West ◽  
Russian Culture ◽  
Center Stage ◽  
Russian Composers ◽  
General Aspects

During his lifetime, Nikolai Rimsky-Korsakov (1844–1908) was a composer whose work had great influence not only in his native Russia but also internationally. While he remains well-known in Russia—where many of his fifteen operas and various orchestral pieces are still in the standard repertoire—very little of his work is performed in the West today beyond Scheherezade and arrangements of The Flight of the Bumblebee. In Western writings, he appears mainly in the context of the Mighty Handful, a group of five Russian composers to which he belonged at the outset of his career. This book finally gives the composer center stage and due attention. In this book, Rimsky-Korsakov's major operas, The Snow Maiden, Mozart and Salieri, and The Golden Cockerel, receive multifaceted exploration and are carefully contextualized within the wider Russian culture of the era. The discussion of these operas is accompanied and enriched by the composer's letters to Nadezhda Zabela-Vrubel, the distinguished soprano for whom he wrote several leading roles. Other chapters look at more general aspects of Rimsky-Korsakov's work and examine his far-reaching legacy as a professor of composition and orchestration, including his impact on his most famous pupil Igor Stravinsky.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

ASSOCIATIVITY AS A FORMATION SOURCE OF A MUSICAL COMPOSITION EDITING FORM OF THE SECOND HALF OF THE 20TH CENTURY

2021 ◽  
pp. 22-31
Author(s):  
ZARINA DENISOVA
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Musical Composition ◽  
Musical Work ◽  
The Status ◽  
Associative Connection ◽  
New Type ◽  
General Scientific ◽  
A Chain ◽  
Russian Composers

The object of the research in this article is associativity as a characteristic feature of 20th century art. The nature, the role of the association in the work of artistic thinking, the principles of its functioning are considered. The subject of the research is the editing form of a musical work of the second half of the 20th century. Particular attention in the article is paid to the consideration of such an important factor influencing the formation of a stable associative connection as repetition. At the same time, it is specified that repetition is caused by a specific life situation. This repetition forms a chain of associations that create an integral content space of a musical work. The work uses general scientific research methods in the framework of comparative and logical analysis, including generalizations and comparisons. The work is based on the analytical method and has a systemic interdisciplinary nature as well. In revealing the specifics of the installation form, the author of the article turns to the theory of compositional ellipsis V. Bobrovsky. The main conclusion of the study is that the importance of associativity in the work of Russian composers in the second half of the 20th century is increasing, reaching the status of a characteristic feature of artistic thinking. The process of expanding associativity manifested itself, in particular, in the emergence in musical creativity of a new type of form creation - editing. The analysis revealed the features inherent in the montage type of construction of a work of art. This is the dismemberment of thematic material, the syntactic isolation of thematic structures, the organization of the form «from the end», the internal unity of the mosaic structure, and others. The novelty of this research lies in the fact that for the first time associativity is considered as a source of montage shaping, in the choice of research methodology, as well as in the identification of special features of the composition, manifested in the conditions of montage drama.

scholarly journals The Musical Oeuvres of Rodion Shchedrin

ICONI ◽  
2021 ◽  
pp. 148-159
Author(s):  
Alexander I. Demchenko ◽  
Keyword(s):  
20Th Century ◽  
Present Situation ◽  
Igor Stravinsky ◽  
Sergei Rachmaninoff ◽  
Dmitri Shostakovich ◽  
Musical Compositions ◽  
Maximal Tension ◽  
Russian Composers

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.

scholarly journals Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China

2019 ◽  
Vol 7 (3) ◽  
pp. 126-137
Author(s):  
Kang Yunyu
Keyword(s):  
Educational Institutions ◽  
Compositional Techniques ◽  
Musical Work ◽  
Republic Of China ◽  
Piano Repertoire ◽  
Musical Works ◽  
Effective Performance ◽  
Personal Qualities ◽  
Russian Composers ◽  
Selection Of

The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

Ethnographic Concerts in the Service of Empire

2020 ◽  
pp. 209-254
Author(s):  
Adalyat Issiyeva
Keyword(s):  
Detailed Analysis ◽  
Ethnic Minorities ◽  
Folk Songs ◽  
Folk Song ◽  
Musical Language ◽  
Russian Culture ◽  
Russian Composers ◽  
Folk Song Arrangements

This chapter discusses how the composers affiliated with the Music-Ethnographic Committee used several strategies to circumscribe the peoples of the empire under the umbrella of Russian culture. Most of the so-called Ethnographic Concerts organized in Moscow by this committee (1893–1911) featured Russian or Slavic music followed by arrangements of folk songs of Russia’s inorodtsy, helping to reinforce the idea of Russia as a multiethnic state. Detailed analysis of folk song arrangements representing Russia’s ethnic minorities suggests that Russia was determined to appropriate and recontextualize the cultures of its newly acquired southern and eastern subjects. By introducing into inorodtsy music some elements associated with Russianness—the Dorian mode, avoidance of the leading tone, modal harmony, and what was called the “Glinka variation”—Russian composers reduced both the cultural and musical distances between Russia and its “others.” The arrangements performed in the Ethnographic Concerts, however, completely transformed inorodtsy musical language and stripped it of its historical and traditional meanings.

The Composer as Seer, but not Prophet

Tempo ◽  
1994 ◽  
pp. 13-18
Author(s):  
Claire Polin
Keyword(s):  
Similar Nature ◽  
Alfred Schnittke ◽  
Russian Composers ◽  
Musical Sounds

Have composers developed a new role in our time? Are creative musicians today, by the gifts given to them, foretelling Armageddon, the musical Nostrodamuses of our day? Does Steve Reich's recent opera The Cave, despite its avowed peaceful message, actually foretell the Hebron massacre of last February? Are the sombre works of the Russian composers Alfred Schnittke and Sofia Gubaidulina predicting events of a similar nature, which are just waiting to be interpreted from the musical sounds to meaningful dialogue?

Winning and Losing in Russian New Music Today

2014 ◽  
Vol 67 (2) ◽  
pp. 487-542 ◽  
Author(s):  
William Quillen
Keyword(s):  
New Music ◽  
Collaborative Networks ◽  
Sociology Of Culture ◽  
Organizational Changes ◽  
Birth Cohorts ◽  
Russian Music ◽  
Organizational Perspective ◽  
Production Of Culture ◽  
Generational Shift ◽  
Russian Composers

This article examines some of the organizational changes shaping Russian new music from the collapse of the USSR in 1991 to the present and their consequences for composers active in Russia today. The Soviet collapse triggered significant transformations in how new music in Russia is funded, where and by whom it is performed, and how it is promoted and distributed. These developments have affected the opportunities available to contemporary Russian composers, their strategies for career success, and how they envision their place vis-à-vis other composers or within society at large. More significantly, such changes have shaped individual composers' creative practices: as composers moved into new collaborative networks after the Soviet collapse; as the resources at their disposal changed; and as they composed for new performers, markets, or patrons, so, too, did their styles change. In explaining musical developments from an organizational perspective, this article draws upon theories from the sociology of culture literature, in particular Howard Becker's idea of “art worlds” and the production-of-culture perspective developed by Richard Peterson and others. The article also considers factors other than organizational ones affecting Russian music today, including the generational shift presently underway as members of post-Soviet birth cohorts enter the professional ranks.

scholarly journals From Rubinstein to Rebikov: influences of Russian composers on Janáček

2015 ◽  
Vol 51 (2) ◽  
pp. 99-118
Author(s):  
John Tyrrell
Keyword(s):  
Russian Composers

The article examines Leoš Janáček’s knowledge of the music of four Russian composers (Rubinstein, Tchaikovsky, Musorgsky and Rebikov) may have influenced him and assesses the basis and extent of any discernible influence.

scholarly journals THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE

2020 ◽  
Vol 18 (1) ◽  
pp. 94-108
Author(s):  
Angelina-Ogniana GOTCHEVA
Keyword(s):  
Western Culture ◽  
Global Culture ◽  
Avant Garde ◽  
Pierre Boulez ◽  
Religious Perspectives ◽  
Innovative Thinking ◽  
Edison Denisov ◽  
And Performance ◽  
Russian Composers ◽  
The Way

19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.

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