Journal of Saratov Conservatoire. Issues of Arts. 2020. № 1 (7)

Pavlinova V. P.

On the Aesthetic Origins of Russian Historical Musical Drama

Pages 21–29

• Abstract, key words

  Abstract: The article is devoted to the problem of the genesis of the tragic dramaturgy in historical musical dramas by M. P. Mussorgsky. The question is raised about the Russian composer's free refraction of the aesthetic principles of ancient tragedy as a basic dramaturgy feature of his stage masterpieces. The historical context that caused Mussorgsky's interest in the theatrical art of classical Greece is considered. The penetration of ancient impressions into composer's early works is illustrated by the example of his first stage experiences: the drama «Oedipus in Athens» and the opera «Salambo». The analysis of the dramaturgy of operas «Boris Godunov» and «Khovanshchina» leads to the conclusion about Mussorgsky's actualization of the ancient foundations of the tragic genre in the conditions of national historical plot and reflection of the Russian Orthodox religious experience.

  Key words: M. P. Mussorgsky, musical drama, antique tragedy, «Boris Godunov», «Khovanshchina», liturgical content.

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Demchenko A. I.

The History of Music Music. Entering the XX Century

Pages 30–41

• Abstract, key words

  Abstract: The problems that determined the essence of processes happening in the Russian music of 1890–1920s had different interpretations, semantic content and stylistic expression at different stages of their development. In the 1890s, the rather a monolithic concept of art of the late XIX century was replaced by the stratification of the artistic flow into multidirectional, even opposing lines. In 1900s, there appeared two main lines connected with the promotion of the heroic-lyrical concept and a sharply aggravated problem of the end of the Classical era. The 1910s were characterized by radical and irreversible changes in the entire structure of the national musical art, which clearly marked the birth of the Modernism. In 1920s these trends of the artistic process reached their pinnacle, often getting hyperbolic expression. The study of the evolutionary trajectory shows that the musical and artistic processes developed wavelike, that is, at any of the four stages of the transition period from 1890s to 1920s, a phase of recovery and a phase of decline are clearly seen. It turns out that every decade enters the arena of historical existence in its unique form.

  Key words: Russian music in 1890–1920s, the stages of evolutionary development, regularity of artistic process.

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Safonova T. V., Fomina Z. V.

Performer’s Inerpretation of Prokofiev's Piano Works

Pages 42–47

• Abstract, key words

  Abstract: The article presents analysis of performer’s interpretations of Prokofiev’s piano compositions based a comparative approach. Interpretation is viewed as a way of musical composition’s existence demanding an active co-participation of the performer in the presentation of the author's idea. Special attention is paid to the question of the boundaries of interpretation: penetration into the innermost semantic layers of the performed work, the aspiration towards the comprehension of the author's conception and the impossibility of willful treatment of the musical text. The character of interpretation, its adequacy and convincingness depend both on the professional qualities of a musician and his personality. The analysis of various interpretations of a particular musical composition makes it possible not only to define the performer’s values and spiritual preferences, but also to reflect the spiritual atmosphere of the society in which he creates, as well as the demand for certain moods and meanings which the composer’s music conveys. It is presumed that the active interest in Prokofiev’s the music on the part of performers is stipulated by the intense historical situation in the world creating the feelings of alarm and blight. Prokofiev's music attracts musicians with the aspiration towards light, self-assuredness and optimism. The interpretations of Prokofiev's piano compositions by S. Richter, M. Greenberg, E. Gilels, M. Argerich, N. Petrov, as well as by contemporary pianists A. Gavrilov, E. Kisin, D. Trifonov and G. Sokolov are studied.

  Key words: Sergei Prokofiev, piano compositions, performer’s interpretation, composer’s conception.

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Sviridova I. A.

Choral Scenes from the Operas «The Nose» and «Katerina Izmailova» (on the Problem of Studying the Opera and Choral Creation of D. D. Shostakovich)

Pages 48–63

• Abstract, key words

  Abstract: The article is devoted to the current problem of studying operas and choral works of D. D. Shostakovich. The aim of the work is to analyze choral and ensemble music in the operas «The Nose» and «Katerina Izmailova». The features of the dramaturgy in the opera «The Nose» are, on the one hand, the rapid development of the plot, where the change of pictures resembles the change of shots in the film, on the other hand, the influence of the opera aesthetics of the XX century — the transition from the number structure of previous eras to a cross-cutting action. The characteristic features of dramaturgy in opera «Katerina Izmailova» is the definition of a plot plan for each particular scene always presented as part of a whole and the organic connection of the overall dramaturgy of the opera, its musical content and dynamic aspirations with this plan. The author comes to the conclusion that in D. D. Shostakovich's operas the chorus is the most important element of drama. The composer uses all forms of choral music from separate choral cues and choral recitative to expanded choral scenes involving two choirs. Choral scenes are the brightest accents in the opera drama, often the culmination of episodes and even whole acts. Sharp clashes of musical-stage images and characteristics are presented alongside with musical-satirical sketches, comic genre scenes, evil grotesque, as well as episodes of ordinary, colloquial speech. In the operas «The Nose» and «Katerina Izmailova» the central theme of Shostakovich's work is crystallized, it is a humanistic theme of denouncing evil, ignorance and protecting a person.

  Key words: D. D. Shostakovich, opera, opera and choral creativity, «The Nose», «Katerina Izmailova», «Lady Macbeth of Mtsensk district», choral scenes from operas.

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Grutsynova A. P.

Ballet on Television Today

Pages 64–70

• Abstract, key words

  Abstract: The article is devoted to the problem of the interaction of ballet and television. Throughout its existence, ballet as a theatrical production constantly absorbed the achievements of other arts and sciences. In the XX century, such an achievement no doubt was the art of cinema (later — television). Before focusing on the problem of combining ballet and television, the author classifies the forms of their possible interaction (film-ballet, film adaptation of ballet, ballet in a feature film, documentary about ballet, feature film about ballet, television ballet). The history of the gradual appearance of ballet on the Soviet television (starting from the 1930s) is considered. Finally, the author dwells on the problem of ballet television contests widespread in our time. The article presents brief review of the goals, objectives and problems of their predecessor — theatrical ballet competitions. Possible positive and negative aspects of TV competitions are outlined. Summing up, the author suggests what can be the ideal interaction of ballet and television nowadays.

  Key words: ballet, television, competition, viewer.

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Egorova I. L.

Tragic Motives in Fate and Songs of L. A. Ruslanova

Pages 71–77

• Abstract, key words

  Abstract: The personal and professional formation of a great Russian singer L. A. Ruslanova (1900–1973) coincided with the most tragic events in the history of Russia: the Russo-Japanese War (1904–1905), the First World War (1914–1918), the Civil War (1918–1922), the Great Patriotic War (1941–1945). The phenomenon of the singer’s creativity is considered in this article through the prism of philosophical understanding of the category of tragic. In her interpretation of songs the tragic acts as a conflict of real and ideal in relation of a person to specific socio-historical events, it reveals their meaning from the perspective of the Highest Truth. Providing an analytical study of songs performed by Ruslanova, the author concludes that the deeply felt and conscious tragic goes back to the ontological perception of the world and is embodied in various forms of the song images she created.

  Key words: Lidia Andreevna Ruslanova, performing arts, interpretation, folklore, folk song, category tragic in art.

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Strenacikova M.

Specific Educational and Psychological Aspects of a Professional Musicianґs Career and Occupational Choices

Pages 78–84

• Abstract, key words

  Abstract: Professional musician’s career could be understood as a continuous (preferably planned) process that has an impact on the personality development and vice versa — personality development and personality features predetermine the career path. The career of a professional musician could be divided into three main phases, which have their own typical characteristics. In the preparatory phase the occupational choices are the milestones for almost all musicians; the phase of active playing/singing includes career crisis; the extinction phase depends on the actual situation and musician´s physiological and mental dispositions. In 2019 we held interviews with 15 professional Slovak and Czech musicians in various geographical areas of Slovakia who studied musical instruments or singing in the field of classical music or musical. Analysis of the material focused on the progress of their careers. It showed that common features of the majority of our respondents' careers were: making occupational choices in the preparatory phase; overcoming a crisis in the phase of active performance; and taking a music teaching job at a certain point of their careers.

  Key words: music, occupational choice, career, interpretation, phases, crisis.

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Polozova I. V.

Scientific Life of the Saratov Conservatoire: Traditions and New Trends on the Example of Scientific Readings Dedicated to B. L. Yavorsky «Problems of Artistic Creativity»

Pages 85–91

• Abstract, key words

  Abstract: The article provides an overview of All-Russian Scientific Readings dedicated to B. L. Yavorsky, held at the Saratov State L. V. Sobinov Conservatoire on November 26–28, 2019. The author shows the continuity of problems in the works of an outstanding scientist of the mid-twentieth century B. L. Yavorsky and modern scientific research in the field of sacred music. The article analyzes the range of art history problems considered at the scientific forum focusing on the issues of ancient Russian singing art: the theme of consonance of the problems discussed in the works of B. L. Yavorsky with the style of znamenny chant, Greek traditions in ancient Russian liturgical singing practice, history and theory of znamenny chant and part-singing style of the XVII — first half XVIII centuries, modern religious practices, etc. Wide scope of issues discussed at the conference is reflected in the papers demonstrating the connection of the XIX–XX centuries composers of different national schools with the genres of sacred music, etc. To sum up the paper points to the effectiveness of integration of scientific, educational and creative (concert) components that determined a high scientific rank of the Readings.

  Key words: scientific traditions, B. L. Yavorsky, scientific conference, «Problems of artistic creativity», old Russian liturgical singing, spiritual music, Saratov State L. V. Sobinov Conservatory.

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