Forbidden Weinberg: Cantata “Pyotr Plaksin”. The Experience of First Interpretation

Творчество Моисея (Мечислава) Самуиловича Вайнберга (1919–1996) переживает в последнее десятилетие настоящий ренессанс. Театральные постановки, фестивали, концерты на лучших сценах России, Европы и Америки, выпуск новых компакт-дисков на крупнейших звукозаписывающих лейблах, переиздание многих партитур — всё это, казалось бы, исчерпало возможности открытий в обширном наследии художника. Между тем, при содействии родных композитора, по инициативе Международной Творческой мастерской «Terra Musica» один из лучших отечественных коллективов — Камерная капелла «Русская Консерватория» под руководством дирижера Николая Хондзинского — осуществила мировые премьеры партитур, которые по разным обстоятельствам многие десятилетия находились под спудом. Речь идет о двух кантатах, созданных в 1966 году: «Петр Плаксин» по одноименной поэме Юлиана Тувима и «Хиросимские пятистишия» на стихи Мутэноси Фукагава. Статья отражает историю создания, опыт исследования и подготовки первого исполнения (студийной записи) кантаты «Петр Плаксин», воплощающей выдающееся мастерство Вайнберга и при этом неизвестной даже узкому кругу специалистов, изучающих отечественную музыку второй половины ХХ столетия. Образная палитра и тембровая поэтика кантаты — поэтические аспекты, рассмотрев которые, можно более объемно осмыслить важные свойства авторского стиля, а также резонанс художественных открытий Вайнберга в современном музыкальном пространстве. In the last decade, the music of Moisey (Mieczysław) Samuilovich Weinberg (1919–1996) has been experiencing a real Renaissance. Theatre productions, festivals, concerts at the best Russian, European and American concert halls, new CDs recorded by the leading recording labels, issuing new editions of many scores — all this seems to have exhausted the possibilities of discoveries in the vast heritage of the artist. However, on the initiative of the International Art Workshop “Terra musica” and with the assistance of Weinberg’s relatives one of the best Russian ensembles, “Russian Conservatory”, conducted by Nikolay Khondzinsky, performed world premieres of the scores that, for various reasons, had been under a bushel for many decades. It is about his two year cantatas created in 1966 — Pyotr Plaksin on the words of Julian Tuwim and Hiroshima Five-line Stanzas on poems by Mutenosi Fukagava. The article reflects the history of the composition, research and rehearsal experience that preceded the first performance (recording) of cantata Pyotr Plaksin, which embodies an outstanding mastery of Weinberg and still remains unknown even in the narrow circle of researchers of the Russian music of the second half of the XX century. Figurative palette and timbral poetics of the cantata are those aspects of examination, due to which one can distinctively comprehend the main features of composer's style and resonance of Weinberg’s discoveries in the modern musical environment.

Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin

"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "

Alternative Facts in Musicology and Vechnaya Pamyat' in Shostakovich's Symphony No. 5

The assertions, refutations, and counter-refutations concerning two core pieces of Richard Taruskin’s studies on Russian music—Tchaikovsky’s Symphony No. 6 and Shostakovich’s Symphony No. 5—provide a starting point for discussion about the possibilities, limits, and obligations of musicological interpretation. Moreover, an important aspect of the discussion is the phenomenon of “alternative facts,” both in publication and in pedagogy, and possibly in music itself. Taruskin argues against the logical fallacies of overly specific or overly simplistic interpretations, but hesitates to fully interpret certain music himself, thereby participating in the web of alternative facts. Taruskin refutes popular myths about biographical meanings in Tchaikovsky’s symphony, but in so doing, also seems to reject a tragic reading of any kind. He explains away various musical structures and extroversive references, but fails to explore why those elements are in fact present. As for Shostakovich’s symphony, Taruskin notes its saturation with musical topics, but ignores their allusive specificity, downplaying their significance altogether for what he calls their transferability. Yet Taruskin himself identifies an allusion to a specific Orthodox hymn, and therefrom draws specific conclusions. His evidence for calling the passage a “literal imitation” is actually flawed, but a truly literal quotation of this very hymn may be present throughout the entire symphony, and may act as a sort of species of alternative fact itself. In any case, something that specific, and its placement in the symphonic structure, deserve notice and demand specificity of interpretation.

Innovative trends in the symphonic works of Soviet composers of the 1960s and Symphony No.3 by B. Tishchenko. Part 2

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

B. Tishchenko’s music to the ballet “Yaroslavna” in the context of the revival of Russian symphonic style in the 1960s–1970s

This article analyzes the music to the ballet “Yaroslavna” by the prominent Russian composer of the late XX century B. Tishchenko (1939–2010). The written and staged in 1974 ballet has become one of the most remarkable musical achievements of that time. Emphasis is palced on the fact that Tishchenko composed “Yaroslavna” using all available modern orchestral means of expression on the basis of the Old Russian text “The Tale of Igor's Campaign”. Tishchenko did not seek stylization of his work, but brought the word of the nameless chronicler closer to modern era. He introduces choir to the ballet music to augment its power. The author features Tishchenko's outstanding work with orchestral texture and various instrumental timbres and colors. The novelty of this research lies in studying the music to the ballet “Yaroslavna” in the context of general vector of the revival of Russian symphonic style in the 1960s–1970s. The author notes the leading role of Boris Tishchenko in this remarkable process. The conclusion is made that the composition turned out to be multigenre, consisting of multiple parts; and that Tishchenko has broadened musical lexicon of the Russian music culture to the maximum. The music to the ballet was saturated with truly symphonic content, opened new artistic paths, and enriched modern orchestral palette.

Novel trends in the symphonic work of Soviet composers of the 1960s and B. Tishchenko's Symphony No.3. Part 1

The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

Research on the Problems of Piano Creative Work by A. Arensky in the Scientific Papers of Professor N. Usubova

The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Goldenweiser and wrote these scientific works under the guidance of the prominent pianist. An important part of these scientific works is devoted to the study of A. Arensky’s piano creative activity. Here, the musician touched upon the features of the composer’s piano performing, as well as the characteristic features of his music. The research also provides performing characteristics of the works analyzed and covering various genres. The purpose of the research is to study the fundamental results and main performing principles in the scientific works dedicated to A. Arensky’s piano creative work by Nigar Usubova, a brilliant representative of the Azerbaijani piano school of the twentieth century. In these scientific research works, N. Usubova touched upon the features of the prominent composer’s piano creative work, performing principles, circle of images; moreover, analyzed the form, genre, tone and other aspects and conducted research on the background of characteristic features of Russian music. We would like to bring to your attention that N. Usubova’s scientific works have not been published. This raises the scientific significance and relevance of the topic more. These scientific works are the first research work dedicated to the study of A. Arensky’s piano music in the Azerbaijani science of music. The research methodology is based on analytical and theoretical analysis, as well as on the source research method (work with archival materials). The main principle is the study and analysis of the fundamental results obtained by N. Usubova in the study of piano music by A. Arensky The scientific novelty of the research is that for the first time the scientific works of the outstanding pianist Nigyar Usubov are studied, their scientific significance, as well as the issues reflected in those works, are revealed. We would like to bring to your attention that these scientific works reflect N. Usubova’s method of approach to A. Arensky’s piano pieces as a pianist. For this reason, these scientific works are a valuable recommendation for every pianist who turns to A. Arensky’s piano creative work. Conclusions. Nigar Usubova is the author of two scientific works and her scientific creative activity is devoted to the definition of performing features of A. Arensky’s piano creative work. Each of these scientific-methodical works was written under the guidance of a prominent representative of the Russian piano school, pedagogue A. Goldenweiser. In these works, N. Usubova worked on A. Arensky’s creative work in a comprehensive and detailed way. According to the author, A. Arensky’s piano creative work is characterized by the clarity of form and texture, the richness of melodic material, which brings him closer to Tchaikovsky’s chamber music. Although the composer prefers miniature forms in his piano creative work, it is also possible to find virtuoso pieces, etudes, scherzos and capriccios. These works, in particular, influenced the formation of S. Rakhmaninov’s and A. Scriabin’s creative activity. The main characteristic features here are polyphonism, polymelodism and polyrhythmics of the piano texture. Simultaneously, N. Usubova thoroughly studied the influence of Western European composers on the formation of A. Arensky’s creative activity.

Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.