OPERA MUSICOLOGICA № 1 [39], 2019

Contents

ARTICLES 

  • Tatiana Shabalina «O ewiges Feuer, o Ursprung der Liebe»: Towards the Compositional History of Cantatas by J. S. Bach BWV 34 and 34a

DOI: 10.26156/OM.2019.39.1.001

The problem of correlation between original and its parody in J. S. Bach’s cantatas «O ewiges Feuer, o Ursprung der Liebe» BWV 34 and 34a is researched in this article. Basing on a study of surviving manuscripts (Am. B. 39 and Mus. ms. Bach St 73) — their corrections in particular — it is shown, that the existing knowledge about the wedding cantata BWV 34a as the first version and the Whitsuntide cantata BWV 34 as its parody does not correspond to their primary sources. A new conception of the history of Bach’s work on the pieces is suggested, as well as the direction of parody opposite to the generally accepted one is traced. The study of corrections in the parts of the wedding cantata (Mus. ms. Bach St 73) allows to reveal peculiarities of such means in the compositional process of J. S. Bach. Wider problems of understanding of his self-parody are also discussed.

Keywords: J. S. Bach, cantatas, parody, compositional process, manuscript, corrections.

  • Vladimir Goryachikh The Concept of Time in the Dramaturgy of “The Tsar’s Bride” by N. A. Rimsky-Korsakov

DOI: 10.26156/OM.2019.39.1.002

The article is devoted to folk melodies transcriptions by Nikolai Rimsky-Korsakov, now stored as part of the collection of the Manuscript Department of the National Library of Russia. The focus of the article is on the Notebook No. 3, which contains draft transcriptions of epics, wedding songs, wedding and funeral laments, written by Rimsky-Korsakov in 1895 in St. Petersburg from Irina Fedosova, the outstanding narrator and lament songs performer from Onega region. The transcriptions by Rimsky-Korsakov are compared with the records made from Fedosova by other collectors, Georgy Dyutsh in 1886, Olga Agreneva- Slavyanskaya in 1896, as well as with the melodies recorded with the audio-recording equipment in the 20th century.

Keywords: Nikolai A. Rimsky-Korsakov, Irina A. Fedosova, Notebook No. 3, National Library of Russia, epics, wedding songs, laments, process of melody transcriptions, source base of folklore.

  • Irina Teplova Transcriptions by N. A. Rimsky-Korsakov of Folk Melodies from the Voice of Olonets Narrator I. A. Fedosova

DOI: 10.26156/OM.2019.39.1.003

The article is devoted to folk melodies transcriptions by Nikolai Rimsky-Korsakov, now stored as part of the collection of the Manuscript Department of the National Library of Russia. The focus of the article is on the Notebook No. 3, which contains draft transcriptions of epics, wedding songs, wedding and funeral laments, written by Rimsky-Korsakov in 1895 in St. Petersburg from Irina Fedosova, the outstanding narrator and lament songs performer from Onega region. The transcriptions by Rimsky-Korsakov are compared with the records made from Fedosova by other collectors, Georgy Dyutsh in 1886, Olga Agreneva- Slavyanskaya in 1896, as well as with the melodies recorded with the audio-recording equipment in the 20th century.

Keywords: Nikolai A. Rimsky-Korsakov, Irina A. Fedosova, Notebook No. 3, National Library of Russia, epics, wedding songs, laments, process of melody transcriptions, source base of folklore.

  • Anton Ostapenko Ludvig M. Lindeman: Norwegian Music Educator and Folklore Collector of the Middle of the 19th Century

DOI: 10.26156/OM.2019.39.1.004

The article focuses on the field previously unknown to Russian musicology — the remarkable Norwegian folklorist, composer, and music educator Ludvig Mathias Lindeman’s gathering and teaching activities (1812–1887). His written archive with numerous samples of Norwegian musical and poetic folklore is recognized as his most valuable heritage. The article presents the first attempt to cover the history of development of this archive as a part of its collector’s life and creative work.

Keywords: Christiania’s culture, Ludvig M. Lindeman, Norwegian folklore, Norwegian ethnomusicology.

  • Izabella Krylovskaya Musical Theatre in the North of the Far East of Russia: 1950–1953

DOI: 10.26156/OM.2019.39.1.005

In March, 1950 the Moscow youth operetta troupe arrived in Magadan. This event laid the foundation for qualitatively new stage in the history of musical theatre of the North of the Far East of Russia. The article is devoted to the activity of this young collective in 1950‒1953 when the Magadan musical and drama theatre was under supervision at the management of labor camps of Kolyma. Data from unknown archival documents and materials of the periodical press are provided, serving the basis for tracing events in collective life, work on the repertoire, the production problems, reviews which reflected perception and assessment of contemporaries. The remained photo of the soloist of troupe is provided in the article, along with the first time published data and pictures of archival documents which were secret until the early 1990s. According to the author, activity of the operetta troupe in the early 1950s approved the Magadan Musical and Drama Theatre as the center of musical culture of the region stimulating development therein of professional performance and music education.

Keywords: operetta, musical comedy, musical theatre, theatre of Gulag, Magadan Musical.

REVIEWS

  • Liudmila Kovnatskaya. The Main Themes: Britten, Shostakovich and Others. Larisa Dan’ko

DOI: 10.26156/OM.2019.39.1.006

The book by Liudmila Kovnatskaya “The Main Themes: Britten, Shostakovich and Others” presents in a wide historical and cultural context the creative figures of the composers of the National (British, Russian) and the world musical culture of the 20th century. The first section gives a detailed consideration of connections of Britten with Russia, Prokofiev, Shostakovich and the Viennese circle of Mahler and operas by Britten. In the second series of articles “Shostakovich in Letters, Manuscripts and Documents” the researcher’s attention is drawn to previously unknown documented facts extracted from the archives. The third cycle is devoted to the Pleiade of famous musicologists of different generations, their personality and destiny, research and pedagogical activity.

Keywords: B. Britten, G. Mahler, S. Prokofiev, D. Shostakovich, protocols of LASM, P. Hindemith, M. Druskin, I. Braudo, G. Orlov.

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