Alexander Siloti and Jean Roger-Ducasse: About the Production of the Mimodrama “Orpheus” in Petrograd

2021 ◽  
Vol 18 (2) ◽  
pp. 186-194
Author(s):  
Svetlana V. Gorobets
Keyword(s):  
20Th Century ◽  
Creative Process ◽  
Innovative Approach ◽  
Archival Data ◽  
Joint Work ◽  
Silver Age ◽  
Public Figure ◽  
150Th Anniversary ◽  
Artistic Life ◽  
French Composers

Based on archival data, memoirs and letters, the article describes the joint work of the pianist Alexander Ilyich Siloti (1863—1945) and the great creators of the Silver Age — choreographer Mikhail Fokin and artist Léon Bakst — on the production of the mimodrama “Orpheus” by the French composer Jean Jules Aimable Roger-Ducasse at the Mariinsky Theatre. The author notes the originality of this composition, new stage solutions, an innovative approach to the production that combines opera and ballet. There are described in detail the decorations and costumes made by Bakst for this production, which could be seen at the exhibition dedicated to the 150th anniversary of the artist in 2016. The premiere was scheduled for the 1915/1916 season, but did not take place. The article explains what prevented the presentation. There are provided some fragments of the correspondence between Siloti and the participants of the production of “Orpheus”, and fragments of reviews for the concert performance of this composition. The article aims at showing new facets of Siloti’s activities, particularly in popularizing the music of French composers in the programs of the entreprise “Concerts of A. Siloti”, which was of great importance in the culture of Petersburg at the beginning of the 20th century. Siloti would often become the first performer of works by foreign authors, which were a “fresh breath” in the cultural and artistic atmosphere of the capital. He tried to enlighten and educate the audience with his concerts, to develop their desire to go to concerts and listen to music. The article gives a general assessment of the activities of A.I. Siloti — a propagandist, educator, pianist, conductor, public figure, a talented organizer of new forms of artistic life and promotion of the best achievements of musical classics and modern creative process.

The Great Reform and the Fate of Capitalism in Russia (On the 150th Anniversary of the Emancipation Reform)

2011 ◽  
pp. 119-136
Author(s):  
M. Voeikov
Keyword(s):  
20Th Century ◽  
Historical Research ◽  
150Th Anniversary ◽  
In The Beginning

The paper deals with the problem of the establishment of capitalism in Russia in the late 19 - early 20th centuries. Using a wide array of historical research and documents the author argues that the thesis on the advanced state of capitalism in Russia in the beginning of the 20th century does not stand up to historical scrutiny, and the role of the famous Emancipation reform of 1861 appears to be of limited importance.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Passeism in the Musical Culture of France

2019 ◽  
Vol 16 (2) ◽  
pp. 171-182
Author(s):  
Galina A. Eremenko
Keyword(s):  
20Th Century ◽  
Cultural Influences ◽  
Young Generation ◽  
Musical Culture ◽  
Self Identity ◽  
The Past ◽  
Cultural Life ◽  
Opposite Trend ◽  
History Of ◽  
French Composers

The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the ori­gins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French compo­ser school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the pa­norama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of diffe­rent forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preser­ving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.

scholarly journals IDEAS ABOUT NATIONAL IDENTITY IN RUSSIAN LITERARY REVIEW, HISTORICAL AND LITERARY DISCOURSES OF THE 19TH – EARLY 20TH CENTURY

2017 ◽  
Vol 5 ◽  
pp. 680-685
Author(s):  
Viacheslav Krylov
Keyword(s):  
National Identity ◽  
20Th Century ◽  
Turn Of The Century ◽  
National Literature ◽  
Early 20Th Century ◽  
Self Awareness ◽  
Silver Age ◽  
Individual Variations ◽  
Russian Literary ◽  
Further Development

This article analyses the evolution of literary reflections among the representatives of the 19th-early 20th-century trends and schools where ideas on national literature distinctness were formed. The study specifies both an invariant of the notions of national literature identity and individual variations that did not find further development in literary self-awareness. The essays of the 1870-80s suggest that there was formed an image of the original literature opposed to European literature. A new impetus to the problem of national identity in literature was attached to the era of the Silver Age; however, the analysis of the literary review, historical and literary discourses of the turn of the century leads to the conclusion that it was in this era that the ideology of literary centrism was further strengthened, and the exclusive status of Russian literature in culture received detailed reflection.

scholarly journals The writing technique as a component of the compositional process (on the examples of creative practice of the second half of the 20th – 21st centuries)

2021 ◽  
Vol 59 (59) ◽  
pp. 117-130
Author(s):  
Dmytro Malyi
Keyword(s):  
20Th Century ◽  
Mathematical Thinking ◽  
Electroacoustic Music ◽  
Musical Language ◽  
Algorithmic Composition ◽  
Compositional Process ◽  
Cultural Paradigm ◽  
The Social ◽  
French Composers ◽  
Stochastic Music

Background, objectives and methodology of the research. The social and cultural paradigm of the 20th century has given rise to a type of composing thinking that did not exist before – a scientific one. Thus, the evolution of the composer’s writing can be defined as a path from thinking by perfect consonance, emancipated dissonance to thinking by deterministic sound and its parameters (height, duration, dynamics, timbre, and articulation). The term of the «composer’s writing technique» means a set of techniques and methods of working with the musical material as a result of the activity of thinking/awareness. Therefore, the aim of this article is an attempt to explore the relationship between the compositional process and writing techniques of the 20th – 21st centuries (pointillism, aleatorysonorous, algorithmic composition), as well as the specifics of polyphonic, homophonic writing in a new context. The methodology of the study includes references to the scientific works by P. Boulez (1971), K. Stockhausen (1963), V. Medushevsky (1984), M. Bonfeld (2006), I. Beckman (2010), I. Kuznetsov (2011), K. Maidenberg-Todorova (2013), M. Vysotska and G. Grigoryeva (2014). Presentation of research results. The phenomenon of writing techniques is very important in the study of the specifics of the compositional process, as it is the technique, for the most part, becomes the goal of creation for many composers of the 20th century. In addition to new techniques, polyphonic and homophonic writing have undergone some changes. The polyphonic one has specific features that are manifested in linearity, part-writing, etc. Examples can be found in the works by D. Ligeti (micro-polyphony), R. Shchedrin, V. Bibik, V. Ptushkin, V. Sylvestrov, and O. Shchetynsky. Regarding the homophonic writing, we shall note that, first of all, it is an indicator of style and conceptual thinking of a composer (works by A. Pyart, J. Tavener, and L. Sumera). In pointillism, the sound is thought of as a deterministic, isolated structure, which is expressed by its various parameters. Here are the examples from the creative work by A. Webern («The Variations for the Piano»; «The Variations for the Orchestra»), by E. Denysov «DSCH». The aleatory-sonorous technique is associated with the operation of timbre sonorities, according to their specific patterns, and developed in the 50–60s of the 20th century in the works by I. Xenakis, V. Lyutoslavsky, Ksh. Penderetsky, and D. Ligeti. The algorithmic composition is an indicator of scientific and mathematical thinking, and is divided into: fractal, stochastic, spectral, concrete and electroacoustic music. The first was formed within the framework of the works by C. Dodge, G. li Nelson, D. Ligeti, and others (I. Beckman, 2010). Stochastic music is associated with the name of I. Xenakis, and the ancestors of the spectral school are the French composers G. Grisey and T. Murray. Conclusions. The article considers the writing techniques of the 20th–21st centuries as components of the compositional process. It can be concluded that the studied techniques are fundamentally interconnected, revealing the nature of the composer’s thinking/consciousness from different positions. The presented techniques are: the objectification of sound forms, the method of creation; the fact of the composer’s consciousness; the consequence of the historical and cultural evolution of the musical language and communication.

scholarly journals Similarities and differences in terms of the geometry used in De Stijl and Bauhaus product designs

2019 ◽  
Vol 2019 ◽  
pp. 8
Author(s):  
Antonio Cvetkovski ◽  
Sofija Sidorenko
Keyword(s):  
20Th Century ◽  
Creative Process ◽  
Industrial Design ◽  
Scientific Paper ◽  
Design Elements ◽  
Geometric Figures ◽  
Similarities And Differences ◽  
De Stijl ◽  
The Relationship ◽  
Geometry Learning

As a fundamental science of forms and their order, geometry contributes to the process of composing and designing of products. Geometry is able to make a contribution to these processes by dealing with the geometric figures and forms as design elements as well as the relations between them. Finding the general principles of successfully combining those elements was a research aim of many designers, such as those in the modernist era. Influencing the industrial design in a revolutionary way, the Modernism became significant artistic movement of the 20th century, thus giving us the most iconic and timeless product designs. In this scientific paper, the relationship between geometry and design in the Modernism is described and explored through examples, with emphasis placed on De Stijl and Bauhaus products. Direct comparison is applied, focusing on the similarities and differences in the products’ geometry. Learning about the geometry and how it relates to the designs is not to be used as a substitute for the creative process, but rather as a means of obtaining a deeper understanding of it. 

Umm Kulthūm

2021 ◽  
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
Social Impact ◽  
Arab World ◽  
Lower Class ◽  
Musical Style ◽  
Late 20Th Century ◽  
Public Figure ◽  
Arabic Speakers ◽  
Egyptian Government

Umm Kulthum was probably the most famous singer in the Arab world during the 20th century, and among the most highly regarded for her command of poetic texts and the historic Arab musical system brought together in affective performances, working closely with accomplished poets and composers of her day. She became a public figure in general, certainly in the later decades of her life, when she became closely associated with then president Jamal ‘Abd al-Nasir of Egypt and spoke frequently about her love for her country and its people. Born to a poor village family in the Egyptian delta, her background resembled that of millions of her compatriots. She was raised in an agrarian setting. Her father was the imam of the local mosque. Like many children of her generation, she attended Qurʾan school (kuttāb), which was among the few educational opportunities for lower-class children under the then British occupation. She learned to sing by mimicking her father and her brother, who sang religious songs for weddings and special occasions to make additional money. Her strong voice drew great attention. She moved to Cairo in about 1923 to advance her career. Thanks to her performances and commercial recordings, her career took off, and by the late 1920s she had become wildly successful. Films and live broadcasts followed in the 1930s. In the 1940s, like many Egyptians, she began to express the shared dismay at the continued British presence during World War II, the corruption of the Egyptian government, and the war in Palestine. After the Egyptian Revolution in 1952, she, again like many of her cohort, expressed support for the revolutionary government in song and speech and, later, for ‘Abd al-Nasir himself. Her musical style changed over the years as she continually cultivated new listeners. Owing to the wide dissemination of her recordings, the powerful Egyptian radio-broadcasting capacity, and her touring, she became well known and popular throughout the Arab world. After the Egyptian defeat in the 1967 war with Israel, she launched a successful series of benefit concerts designed to replenish the Egyptian war department’s treasury. When she died in 1975, it was said that her funeral was bigger than ‘Abd al-Nasir’s had been. Probably owing to her stature as a public figure, most publications about Umm Kulthum have been biographical in nature, as writers attempted to document her life, her social impact, and the reasons for her various successes. She rarely sought an audience outside the world of Arabic speakers, and she was little known in the West until the late 20th century, with the burgeoning interest in “world music.”

scholarly journals BOOK REVIEW: YU.V. ARGUDYAEVA. "THE RUSSIAN COSSACKS IN TRYOKHRECHYE (THE FIRST HALF OF THE 20TH CENTURY)"

2018 ◽  
pp. 156-157
Author(s):  
Amir A. Khisamutdinov ◽  
Keyword(s):  
20Th Century ◽  
Archival Data ◽  
First Time

The monograph “The Russian Cossacks in Tryokhrechye (the first half of the 20th century)” (Blagoveshchensk: AmGU Publ., 2016. 480 p.: illus.) by Yu.V. Argudyaeva is devoted to the historical and ethnographic characteristic of the Tryokhrechye Cossack emigrants in the 1920-1940s. The author continues the ethnographic researches which were partially concerned with the studying of ethnological aspects of the topic. The monograph gives information on the farmstead complex and biographies of heads of families of the the Tryokhrechye Cossacks for the first time. The basis of the book was formed by the published materials of the previous researchers, reminiscence of the Cossacks and their descendants presented in journals “Rubezh” (“Frontier”, Harbin, Vladivostok) and “Russkaya Atlantida” (“Russian Atlantis”, Chelyabinsk), field materials, and archival data.

scholarly journals El borrado en la pintura conceptual. De la iconografía de Dánae a la de Sémele en Hilario Bravo

2021 ◽  
pp. 47-56
Author(s):  
Angélica García-Manso ◽  
Keyword(s):  
20Th Century ◽  
Creative Process ◽  
Main Concern ◽  
Christian Tradition ◽  
Radical Nature ◽  
Standard Response ◽  
The Relationship ◽  
20Th Century Art

"Within the conceptual approaches that define the aesthetics of the painter Hilario Bravo, the transformation of a work is a standard response in 20th-century art. On a few occasions, however, the radical nature of the transmutation causes the work to change its title and meaning completely. This is the case with Flammae, a work from 2014 in a series dedicated to the relationship between flame, thought and the act of creation, which in 2017 is transformed into Semele, at a time when the artist’s main concern is the search for cathasterism as the ultimate projection of fire. This has key hermeneutical implications, both from a mythological perspective and from the iconography of the Christian tradition, but, above all, it fulfils the meaning of the work: a painting about the creative process that leads to a reflection on the immanence of the work."

scholarly journals Postmodern Tendencies in the Russian Poetry of the “Silver Age”

2021 ◽  
Vol 12 (4) ◽  
pp. 124-140
Author(s):  
Ihor Chornyi ◽  
Viktoriia Pertseva ◽  
Viktoriia Chorna ◽  
Olena Horlova ◽  
Oleksandra Shtepenko ◽  
...  
Keyword(s):  
20Th Century ◽  
Creative Thinking ◽  
Early 20Th Century ◽  
Eastern European ◽  
Silver Age ◽  
Evolutionary Features ◽  
Russian Poetry ◽  
And Performance ◽  
First Time

For the first time, the article analyses certain aspects of Russian poetry of the “Silver Age” in order to identify the rudiments or features which are characteristic of the postmodern creative paradigm. It is noted that a number of poets almost do not have any postmodernist tendencies. Despite the fact it is proved that postmodernism denies the personality-centric and aesthetically oriented concept of modernism, it nevertheless arose on the basis of modernism and has sharpened evolutionary features formulated in the first half of the 20th century. The article aims to prove a hypothesis that arises in the authors during a preliminary perceptual reading of the poets` works of the “Silver Age”: in the early 20th century. Sporadically and consistently in individual authors can be observed irony, play, reconstruction and performance as precursor of postmodernist creative thinking. Specialties of the Russian poetry of the “Silver Age”, which directly correlate with postmodernist tendencies of the second half of the 20th century is not a description itself, but the realization of reality, ambivalence, as well as following the linguistic and figurative, conceptual, motive levels of gradual transitions between the paradigms of “symbolism – modernism” and “modernism – postmodernism”. The international significance of the article is that the material of one of the Eastern European literatures has proved the existence of postmodern (quasi-postmodern) features in the first half of the 20th century for the first time, which can serve as a deeper research in the field of literary typology, continuity; culturology and anthropology.

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