DOI: 10.7256/2453-613X.2016.3.20952

Abstract: “Émilie” is the newest of the three operas of the renowned contemporary composer Kaija Saariaho, which premiered in 2010. As in two other musical-theatrical oeuvres of the composer – the operas “L'Amour de loin” (2000) and “Adriana Mater” (2004-2005), there is a female character in the center. The monodrama’s heroine is a French mathematician and physicist, Voltaire’s muse – Émilie du Châtelet. The goal of this article is to demonstrate the peculiarities of dramaturgy and compositional-technical side of the opera. The author used the methods of systemic and historical approaches, comparative and stylistic analysis, as well as literary and music sources. Multiple qualities of style that are characteristic to Saariajo are manifested in this opera. But at the same time, we can notice the new features, not inherent to the earlier oeuvres of the composer. First and foremost, it is the accent on certain repeated melodic, rhythmic, and sound combinations, which in one or another way correlate with the imagery-dramatic lines of the libretto. Adopting a new style, the composer experiments with structure and musical means that are new to her repertoire by creating a remarkably vivid and rich portrait of the personality that is tormented by the internal conflicts and controversies, unlike any of her previous compositions.

DOI: 10.7256/2453-613X.2016.3.21030

Abstract: The genre palette of the heritage of Bulgarian composer Pancho Vladigerov is extraordinarily broad, and includes instrumental works, vocal miniatures, chamber opuses, large-scale symphonic oeuvres, as well as compositions for the musical theatre. Many directions which he pursued in his creative work were new to the Bulgarian culture. His music emerged in the 1920–1930’s in Europe, and the composer himself was one of the popular authors of the “Universal Edition” (Vienna), which published almost all of his oeuvres written within this period. A special place in the composer’s heritage belongs to piano music – separate pieces, and over thirty cycles created during the period from 1914 to 1978, among which is “Impressions” (1920, opus 9). In the course of the analysis of the cycle, the author was guided by the specificity of stylistic analysis, as well as other analytical methods of musicology. In the music of “Impressions”, we can note not only the symbolic, but also romantic and neoclassical features, which are associated with the peculiarities of “accelerated development” of the Bulgarian culture. Perhaps this has left an imprint upon the composer’s artistic individuality, in whose heritage we can find diversity of characters, emotions, as well as bright picturesqueness of the sound characters.

DOI: 10.7256/2453-613X.2016.3.21213

Abstract: Pages of the Russian music culture, associated with the prerequisite of the solo performance on domras, by the first performers and their repertoire remain unknown. There is little understanding of the biographies of the first prominent domra players – P. P. Karkin, V. V. Katzan, and others, whose work requires more understanding and assessment. This is primarily due to the fact that throughout the first years after the reconstruction, domra was mostly used as an orchestral instrument, but rarely allowed to lead. The author examined various archive materials and publications, as well as used art-studying approach, comparative-historical methods, and the work with the archives. The article presents the first attempts of solo performance on domras, dates of the domra players’ first performances, and the main artistic trends – different arrangements of popular classical music and clear intention towards the cantilena style. The author underlines the prevalence of the ensemble forms of domra performance – duets, trios, and quartets. The author determines and clarifies the years of life and work of the first domra-alto player P. P. Karkin, certain details from the biographies of the first domra players P. I. Alekseyev and V. V. Katzan, as well as their repertoires and dates of the first solo performances.

DOI: 10.7256/2453-613X.2016.3.21285

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque. During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

DOI: 10.7256/2453-613X.2016.3.21140

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour Europe and the New Word, and successfully participate in multiple international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of Vladigerov family in arrangements, as well as Dmitri Shostakovich’s miniatures. The material presented in this article is substantiated by the genre comparative analysis traditional for a review, as well as historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, impeccable command of the musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The demonstrated by the Vladigerovs’ Trio sparkling temperament and distinct national Bulgarian character, was received by the Moscow audience with great enthusiasm.

DOI: 10.7256/2453-613X.2016.3.21853

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour in Europe and the New Word, and successfully participate in various international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of the Vladigerov family in arrangements and Dmitri Shostakovich’s miniatures. The material presentation in the article is determined by comparative analysis, traditional for reviews, and the historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, perfect command of musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The musicians' sparkling temperament, typical for the national Bulgarian character, was enthusiastically welcomed by Moscow audience.