Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

THE PROJECT OF STAGING "KHOVANSHCHINA" BY M. P. MUSSORGSKY IN B.V. ASAFYEV’S ORCHESTRATION

2020 ◽  
Vol 1 (2) ◽  
pp. 95-102
Author(s):  
V. A. Aleksandrova ◽  
Keyword(s):  
The State ◽  
National Museum ◽  
State Archive ◽  
Central State ◽  
Saint Petersburg ◽  
Russian State ◽  
Archival Documents ◽  
History Of ◽  
Orchestral Score ◽  
First Time

The article is devoted to the history of an unrealized performance of M. P. Mussorgsky’s opera "Khovanshchina" orchestrated by B. V. Asafyev. On the basis of archival documents, stored in the Russian State Archive of Literature and Arts, the Russian National Museum of Music, Central State Archive of Literature and Art of Saint Petersburg, the Bolshoi Theatre Museum, most of which are introduced into scientific circulation for the first time, studied the circumstances under which the opera was planned to be staged in the State Academic Theatre of Opera and Ballet (nowadays — the Mariinsky Theatre). Fragments from the reports of the Artistic Council of Opera at the State Academic Theatre of Opera and Ballet meetings, the correspondence between B. V. Asafyev and P. A. Lamm, the manuscript "P. A. Lamm. A Biography" by O. P. Lamm and other unpublished archival documents are cited. The author comes to the conclusion that most attempts to perform "Khovanshchina" were hindered by the difficult socio-political circumstances of the 1930s, while the existing assumptions about the creative failure of the Asafyev’s orchestration don’t find clear affirmation, neither in historical documents, nor in the existing manuscript of the orchestral score.

Historian of the Russian State Library. In Memory of L.M. Koval (1933—2020)

2020 ◽  
Vol 69 (2) ◽  
pp. 167-172
Author(s):  
Margarita Y. Dvorkina
Keyword(s):  
20Th Century ◽  
Foreign Languages ◽  
Library History ◽  
Russian State ◽  
Great Patriotic War ◽  
History Of ◽  
Publishing Houses ◽  
October 17 ◽  
State Library ◽  
The 19Th Century

The article is devoted to the memory of Lyudmila Mikhailovna Koval (October 17, 1933 – February 15, 2020), historian, Head of the History sector of the Russian State Library (RSL) and the Museum of Library history. The author presents brief biographical information about L.M. Koval, the author of more than 350 scientific and popular scientific works in Russian and in 9 foreign languages. She published 29 books in Publishing houses “Nauka”, “Kniga”, “Letniy Sad”, ”Pashkov Dom”, most of the works are dedicated to the Library. Special place in the work of L.M. Koval is given to the Great Patriotic War theme. The article considers the works devoted to the activities of Library staff during the War period. L.M. Koval paid much attention to the study of activities of the Library’s Directors. She prepared books and articles about the Directors of the Moscow Public and Rumyantsev Museums and Library from the end of the 19th century and almost to the end of the 20th century: N.V. Isakov, D.S. Levshin, V.A. Dashkov, M.A. Venevitinov, I.V. Tsvetaev, V.D. Golitsyn, A.K. Vinogradov, V.I. Nevsky, N.M. Sikorsky. The author notes contribution of L.M. Koval to the study of the Library’s history. Specialists in the history of librarianship widely use bibliography of L.M. Koval in their research. The list of sources contains the main works of L.M. Koval, and the Appendix includes reviews of publications by L.M. Koval and the works about her.

Bonobos

2018 ◽  
Keyword(s):  
19Th Century ◽  
Historical Data ◽  
Line Drawings ◽  
History Of ◽  
The 19Th Century ◽  
First Time

This is a comprehensive, illustrated catalogue of the 200+ marine chronometers in the collections of Royal Museums Greenwich. Every chronometer has been completely dismantled, studied and recorded, and illustrations include especially commissioned line drawings as well as photographs. The collection is also used to illustrate a newly researched and up-to-date chapter describing the history of the marine chronometer, so the book is much more than simply a catalogue. The history chapter naturally includes the story of John Harrison’s pioneering work in creating the first practical marine timekeepers, all four of which are included in the catalogue, newly photographed and described in minute detail for the first time. In fact full technical and historical data are provided for all of the marine chronometers in the collection, to an extent never before attempted, including biographical details of every maker represented. A chapter describes how the 19th century English chronometer was manufactured, and another provides comprehensive and logically arranged information on how to assess and date a given marine chronometer, something collectors and dealers find particularly difficult. For further help in identification of chronometers, appendices include a pictorial record of the number punches used by specific makers to number their movements, and the maker’s punches used by the rough movement makers. There is also a close-up pictorial guide to the various compensation balances used in chronometers in the collection, a technical Glossary of terms used in the catalogue text and a concordance of the various inventory numbers used in the collection over the years.

scholarly journals Prilog poznavanju djelovanja Mateja Andrijina Moronzona*

Ars Adriatica ◽  
2016 ◽  
pp. 103
Author(s):  
Barbara Španjol-Pandelo
Keyword(s):  
Comparative Analysis ◽  
Virgin Mary ◽  
Main Role ◽  
Huge Number ◽  
General Acceptance ◽  
Parish Church ◽  
Archival Documents ◽  
First Time ◽  
Selection Of

Matteo Moronzon, a member of the Venetian family of woodcarvers, was mentioned for the first time in 1407 according to the present known archival documents. Probably after being trained in his father's workshop in Venice, he moved to Zadar with his family – his wife Francisca and sons Pietro and Francesco. In 1418 he undertook the commission of furnishing carved choir stalls for the cathedral of St. Anastasia in Zadar. Various archival documents testify that Matteo lived and worked in Zadar for many years. Therefore it can be assumed that he probably founded his own workshop in Zadar where his son Francesco was trained too. Apart from the attempt to reconstruct Matteo's life and career, the aim of this paper is to interpret one important woodcarving work of art preserved in situ: choir stalls in the former cathedral of Rab, today the arch parish church of the Assumption of the Blessed Virgin Mary in Rab. Without doubt Matteo was the master carver in the production of the choir stalls in Zadar. Since he lived in Zadar it was not unusual that he had the main role in carving the stalls. In Zadar the selection of motives is more balanced and there are no significant differences in the modelling of decorative elements. However, the question whether Matteo carved absolutely everything or he had assistants arises. Considering the amount of work that had to be done it must be assumed that he had assistants who participated in work and helped him to shape the stalls. However, in literature Matteo was considered the only and undisputed author of the choir stalls in Zadar, mostly because of the preserved document. The analysis of the choir stalls in Rab by Ivo Petricioli as well as their evident formal and stylistic similarities with the stalls from the cathedral in Zadar have led to the general acceptance of the hypothesis that they were carved at the workshop of Matteo Moronzon. However, a comprehensive comparative analysis that could confirm that hypothesis was still missing. The analysis of the details and the whole led to the overall conclusion that there were a huge number of similarities between the choir stalls in Rab and Zadar. Therefore it was concluded that Matteo was the principal designer of the choir stalls in Rab who also carved the best parts in Rab, while others, less successful parts, were made by his apprentices and assistants who at the time lived on the island of Rab. In this respect, if Matteo was accepted as the author of the choir stalls of the cathedral in Zadar he must also be accepted as the author of the choir stalls from the excathedral in Rab.

scholarly journals The dramatization of the Holy Week in Švėkšna church in the first half of the 19th century

Menotyra ◽  
2017 ◽  
Vol 24 (1) ◽  
Author(s):  
Asta Giniūnienė
Keyword(s):  
19Th Century ◽  
Old Testament ◽  
18Th Century ◽  
Complicated Structure ◽  
Adam And Eve ◽  
Death Of Jesus ◽  
History Of ◽  
Church Art ◽  
The 19Th Century ◽  
First Time

The article for the first time analyses the decoration parts of the Christ’s tomb of the second halfof the 18th century found a few years ago in Švėkšna church. The Christ’s tomb from the oldchurch was transferred to the  new church, which was built in 1804 and used until the  4thdecade of the 19th century. On the basis of the sources and remained fragments we can statethat this was a complicated structure of the Paschal decoration designed under the Europeanbaroque scenery principles. It was composed of the paintings on boards and canvas and mis-cellaneous accessories. The  Christ’s tomb paintings are characterised by a  symbolic allegoriccontent and artistry. The prophets of the Old Testament and characters the New Testamentreflecting the Paschal Triduum liturgy were depicted in the decoration. The survived outlinepaintings of Adam and Eve in Paradise, Noah waiting for the Saviour, and Angels Lamentingover the Death of Jesus are the exceptional iconography images in the Lithuanian church art.The decorations of the Christ’s tomb were created by the professional masters who decoratedthe churches in Samogitia in the second part of the 18th century. The images of suffering anddead Jesus used in the figuration of the Paschal Triduum influenced the spread of the Passionscenes. This is supported by an interesting archival fact about the shrine with a group of sculp-tures depicting the tomb of Christ in the Švėkšna churchyard.The fragments of the Paschal decorations in the Švėkšna church are important baroque scen-ery exhibits, which are valuable for the history of the Lithuanian church art and scenography.The investigation of the Holy Week figuration in the Švėkšna church is a valuable illustrationof this multidimensional cultural, religious and artistic phenomenon.

scholarly journals Prison Museums in Soviet Russia in the 1920s

2021 ◽  
Vol 17 (50) ◽  
pp. 103-130
Author(s):  
Mikhail Pogorelov
Keyword(s):  
Penal System ◽  
Early 20Th Century ◽  
Journal Articles ◽  
Scientific Goal ◽  
Archival Documents ◽  
Academic Publications ◽  
History Of ◽  
Soviet Russia ◽  
First Time ◽  
Museum Guides

The paper is devoted to the history of early Soviet prison museums which were opened and operated at research institutes and penitentiaries in the 1920s. It proposes to consider these museums within the context of positivist criminology that emerged in the late 19th and early 20th century. The increasing interest in criminal and prison culture motivated scholars and enthusiasts to collect and exhibit objects related to criminals and prisoners. Developing the model of the criminological museum, the Soviet prison museum pursued not only a purely scientific goal but had different functions. By comparing the Soviet penal system to its Tsarist counterpart, prison museums emphasized the revolutionary and emancipatory nature of the former. Representing artifacts (playing cards, tattoos, hand-made prison tools) and the rules of inmate subcultures, museum expositions condemned it as symbols of the old Tsarist prison. The exhibitions with prison factory products (manufactured goods and handicrafts) and samples of inmate initiatives and creativity (newspapers, journals or artwork) had to demonstrate the progressiveness of Soviet penitentiaries, rehabilitating criminals through labor and education. While historians neglected this topic, the article raises questions about the origins and functions of Soviet prison museums for the first time in historiography. The research is based on previously unstudied sources including archival documents, academic publications, museum guides, as well as newspaper and journal articles.

scholarly journals HISTORY OF ANTHROPOLOGICAL RESEARCHES OF BELARUSIAN CHILDREN, TEENAGERS AND YOUTH (the end of 19th– the beginning of the 21st century)

2018 ◽  
Vol 63 (3) ◽  
pp. 317-328
Author(s):  
O. V. Marfina
Keyword(s):  
Growth Rates ◽  
Physical Development ◽  
Acceleration Process ◽  
Historical Aspect ◽  
Somatic Development ◽  
Anthropological Study ◽  
History Of ◽  
Important Direction ◽  
The 19Th Century ◽  
First Time

The work purpose is to present history of anthropological study of physical development of the Belarusian children, teenagers and youth. This story originates at the end of the 19th century, at that time the anthropological science endured the period of the formation. In 1920 one of national objectives was health protection of younger generation; systematic study of physical development of the children’s population of BSSR began to be carried out. In the same time uniform methodical approaches were developed, mathematical data processing was introduced. Standards of physical development of the Belarusian children were for the first time created. In 1950 mass researches of health and physical status of children and teenagers in our republic were conducted by forces of doctors and hygienists. Results of their work allowed to establish dynamics and to reveal the main regularities of formation of a children’s organism. New age and sex standards of physical development of school children were created. Since 1970, the staff of department of anthropology of Institute of history NAN of Belarus conducts systematic complex researches of physical development of children, teenagers and youth. Researches include studying of intra group distinctions taking into account growth rates and definition like somatic development. Researches include studying of intra group distinctions taking into account growth rates and definition like somatic development. Thanks to this work in our republic the results illustrating the most important epoch-making regularities of physical development of newborns, preschool children, pupils of schools including acceleration process were received. In historical aspect the most important direction of anthropological researchers at the present stage is monitoring of physical development of the children’s population of Republic of Belarus. Reduction of massiveness of a skeleton was observed in consequence of which a thinner constitution of modern children at the age of 7–17 years is noticed. 

scholarly journals Pierre Boulez and Heinz Holliger: on the problem of transformation of a musical language

2020 ◽  
pp. 27-37
Author(s):  
Nadezhda Andreevna Petruseva
Keyword(s):  
Comparative Analysis ◽  
Music Perception ◽  
Comprehensive Approach ◽  
Cultural Authority ◽  
Musical Language ◽  
Pierre Boulez ◽  
Research Material ◽  
Solo Music ◽  
History Of ◽  
First Time

The article focuses on the problem of transformation of a musical language, the correlation between an esthetic guideline, an invention, a composition technique and a language. The author describes the two strategies of life and work of Pierre Boulez which allowed him to gain significant cultural authority, and enumerates the persons who had influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in esthetical and theoretical texts of Pierre Boulez; describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique and a language, the author considers the piece for viola “Trema” (1981) by Heinz Holliger, Boulez’s adherent. The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing of mind on music structures), and hermeneutics (the process of understanding, interpreting). The research material is of a methodical importance for modern educational courses of theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation”; focuses on the overcoming of the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis” which includes not only the turn from a technique to a language, but also electroacoustic “sound manufacturing”.  The following aspects of Hollinger’s “Trema” are considered for the first time: the idea, the principles of new solo music, the new technique. The author arrives at the conclusion about “Trema” belonging to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.   

scholarly journals O. S. Kyrychuk, I.V. Orlevych. Lviv Stauropegian Institute (1788–1914s). The Role in the Socio-Political, Cultural and Religious Life of Ukrainians in Galicia. Lviv: Logos, 2018. 288 p.

2021 ◽  
pp. 137-140
Author(s):  
Yulia Shustova ◽  
Keyword(s):  
Public Life ◽  
Species Structure ◽  
World War ◽  
The First World War ◽  
Archival Documents ◽  
Western Ukraine ◽  
History Of ◽  
Charitable Activities ◽  
First Time ◽  
First World

The article reviews the monograph by Alexandra Kirichuk and Irina Orlevich, which examines the activities of the Lviv Stavropigi Institute. This organization played a significant role in the socio-political, religious, cultural, educational, scientific life of the Ukrainians in Galicia. It arose as a result of the reform of the Lvov Ukspensky Stavropigian brotherhood in 1788. The chronological framework of the work covers the period from the transformation of the Lvov brotherhood into the Stavropigian Institute in 1788 until the outbreak of the First World War. More than a century of the organization's activity is considered in the broadest context of the spheres of public life in Lviv and Western Ukraine. The study was written on the basis of sources that are diverse in their species structure. Most of the sources are archival documents and are introduced into scientific circulation for the first time. The authors gave a detailed description of the legal and financial foundations of the activities of the Lviv Stavropigi Institute. The monograph provides a description of the achievements and failures of the Lviv Stavropegia in different spheres of public life in different periods. – The authors examined in detail the national-political, church-religious, cultural, educational, publishing and charitable activities of Stavropigia. The monograph by О. Kirichuk and I. Orleviy is a significant contribution to the study of the history of one of the most important institutions in the Ukrainian lands in the last quarter of the 18th – early 20th centuries.

Alla ricerca di una storia dell'ambientalismo italiano: il contributo di Giorgio Nebbia e Franco Pedrotti

2009 ◽  
pp. 303-317
Author(s):  
Luigi Piccioni
Keyword(s):  
Protected Areas ◽  
Environmental History ◽  
Scientific Production ◽  
Historical Research ◽  
World War ◽  
Considerable Part ◽  
Italian Studies ◽  
History Of ◽  
First Time ◽  
The Relationship

- The birth of Italian environmental history in the late 80s is due to the works and research of professional and non-professional historians. Its recent growth, fed for the first time by young researchers, and its gradual institutionalization could take place neglecting or even ignoring the numerous and sometimes excellent studies published by non-professionals. The cases of the merceologist Giorgio Nebbia and the botanist Franco Pedrotti appear exemplary in this regard. Both of them being eminent scholars in their own fields and pioneers of the italian environmentalist movement, they dedicated a considerable part of their scientific production to historical research. Nebbia has devoted himself to the history of the relationship between society, commodities and natural resources and to the story of "ecological contestation" while Pedrotti has re- searched mainly in the fields of protected areas and in post 2nd World War Italian environmentalism. This essay aims to highlight the contribution given by Nebbia and Pedrotti to Italian studies in the field of environmental history and to the spread of interest in this subject.Parole chiave: Italia; storiografia; storia ambientale; ambientalismo; aree protette; archivi.Key words: Italy; historiography; environmental history; environmentalism; protected areas; archives.

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