Igor Stravinsky Research Articles

The Great Béla Bartók: An International and Interdisciplinary Perspective

A 21st century review of Béla Bartók’s cultural position in the early twentieth century from an interdisciplinary point of view, first beginning with Bartók’s early musical training, then his theatre works, which involved the collaborations of such figures as Béla Balázs and Melchior Lendyl. Bartok’s familiarity with their thinking documents the impact of international Symbolist and Art Nouveau culture in his own formation, as well as the common interest in the folkloric elements incorporated by Bartók and others in this era. Also, Bartók’s achievement will be considered in relation to other significant composers on the international scene in the first half of the twentieth century, including figures such as Igor Stravinsky, Charles Ives, and Arnold Schoenberg. With special mention of Mihály Szegedy-Maszák’s writings on Béla Bartók, including his “Bartók’s Place in Cultural History.”

Постскриптум. Ещё несколько композиторских имён

In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.

Ina Lohr (1903–1983): Transcending the Boundaries of Early Music by Anne Smith

Reviewed by: Ina Lohr (1903–1983): Transcending the Boundaries of Early Music by Anne Smith Mimi Mitchell Ina Lohr (1903–1983): Transcending the Boundaries of Early Music. By Anne Smith. Basel, Switzerland: Schwabe Verlag, 2020. [514 p. ISBN 978-3-7965-4106-3. 82 CHF] Ina Lohr (1903–1983): Transcending the Boundaries of Early Music is an important and extensive biography of a little-known, but extremely influential musician. This book is not only an important contribution to the literature about the early music movement, but is essential reading for an understanding of the creation of two important Swiss institutions, the Schola Cantorum Basiliensis and the Basel Chamber Orchestra. Anne Smith has assembled an impressive array of source material that includes unpublished family photographs, music compositions, and correspondence. This allows the reader to place Ina Lohr in context, and to give us an understanding of her world, her character, and her achievements. Ina Lohr, born in Amsterdam to well-educated parents, is said to have 'sang before she spoke'. Her parents provided a rich intellectual and cultural environment for their children, and it was assumed that Lohr would become a professional violinist. After completing secondary school, Lohr was felled by a serious illness before being able to continue her music studies at the progressive Amsterdam Muziek-Lyceum, where there was a desire to link music study with 'philosophical and religious reflection'. This environment and the people she met during her studies influenced the rest of Lohr's musical life. While traveling to Switzerland for a vacation after her final exams in 1929, Lohr's precarious health forced her to stop in Basel. While she was recuperating, her string quartet was performed by a local ensemble at a house concert attended by Felix Wein-gartner, director of the Basel Symphony Orchestra and Conservatoire. Impressed by the work, and perhaps, as Lohr suggested, intrigued by the novelty of a female composer, Weingartner invited her to study composition in Basel. This offer changed the trajectory of Lohr's life. After her study in Basel, Lohr became the assistant to Paul Sacher, director of the Basel Chamber Orchestra, and the two worked together for more than fifty years. Sacher claimed that Lohr was an 'invaluable aid', especially with the programming of early music. She also provided performance practice information, marked the scores and parts for Sacher, and advised him about soloists. Lohr also worked on the contemporary music that the chamber orchestra performed by composers such as Nadia Boulanger, Igor Stravinsky, Arthur Honegger, Paul Hindemith, and Béla Bartók. Simultaneously, she continued her own work composing and performing religious music, alongside supporting amateur music-making. With the founding of the Schola Cantorum Basiliensis (SCB) in 1933, Lohr 'served in an advisory capacity' during the creation of the school. The SCB was dedicated to the study and performance of pre-Classical repertoire and, almost a hundred years later, is still ranked as one of the most important early music conservatoires. Considered 'the main pedagogical motor of the school', Lohr taught Gregorian chant, recorder, ensemble, and thorough bass. She was happy working with amateurs as well as the more accomplished students, and Lohr's full and [End Page 175] popular classes generated the most income for the school. She was the best-paid teacher at the SCB for more than twenty years. The most important activity for Lohr was using music as an expression of her religious beliefs. She organised a church choir, Ensemble für Kirchenmusik, in Basel, taught many courses and masterclasses on religious music, and made important contributions to the reformation of Protestant church music in the Netherlands. The conflict between her wish to use music as a religious act and the necessity of making her living in the secular music world was a struggle for Lohr throughout her life. Her influence in both sectors was seen in the enormous outpouring of affection on her eightieth birthday. Paul Sacher bought her an expensive and meaningful present. Vespers were performed in Basel, and her Dutch friends organised a programme of events that involved amateur music-making, lectures on chant and Bach, a course on solmization, and numerous concerts in various churches throughout the...

Igor Stravinsky in Mexico (1940-1961) Reception and Influence in the Spanish Musicians of the Exile: The Case of Jesús Bal y Gay

Igor Stravinsky in Mexico (1940-1961) Reception and Influence in the Spanish Musicians of the Exile: The Case of Jesús Bal y Gay

Жан Барраке: путь к сериализму и эстетические взгляды первой половины 1950-х годов

The article examines the aesthetical views of French composer Jean Barraqué during the period of the formation and development of the principles of serialism. The roles of Schoenberg and Beethoven in the formation of the master’s artistic worldview are singled out. The path towards the new conception of sonar thinking for Barraqué were determined by Olivier Messiaen’s music analysis courses, the familiarization with the books of René Leibowitz devoted to the serial technique created by the representatives of the Second Viennese School, as well as artistic contacts with the leading composers – Pierre Boulez, Karel Goeyvaerts and Michel Fano. On the basis of an overview of Barraqué’s articles from the 1950s the key musical figures (Webern, Berg, Schoenberg, Messiaen and Stravinsky) and issues that interested the composer during the researched period of time are disclosed, and a comparison is made between the composer’s utterances with the discourse of Boulez. Notice is drawn to the fact that the questions of serial technology proper were of little interest to Barraqué. His attention was focused on the historical needs of musical practice and its ontological essence. The composer attributed special significance to the concept of musical dialectics, considering it to be defining for the concept of serialism. Barraqué’s familiarization in the mid-1950s with Hermann Broch’s novel “The Death of Virgil” stipulated the further development of his music. The center of the composer’s interests turned out to be questions related to the nature of art and artistic creativity, the true expression of which were served by the oppositions between life and death, creation and destruction. In the article’s conclusion the connection between Barraqué’s viewpoints with the romantic aesthetics is demonstrated. Keywords: Jean Barraqué, integral serialism, musical dialectics, Anton Webern, Arnold Schoenberg, Alban Berg, Olivier Messiaen, Pierre Boulez, Igor Stravinsky, Hermann Broch.

Творчество Р.К. Щедрина

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian and Georgy Sviridov. This series is continued with a lecture about the music of Rodion Shchedrin. Following the portions of the lecture which deal with the early and middle periods of the composer’s music, the drama and even the tragic quality of his world perception and their overcoming. the present situation acquired maximal tension upon Shchedrin’s turning to the most acute problem for the romantic consciousness — the problem of interactions of personality and its surroundings, especially in the event of their confrontation. During the lecture’s exposition fragments of musical compositions are offered with their recommended performances, in their sum providing a perception of the most substantial sides of Shchedrin’s musical legacy.

ФОРМА СЮИТЫ В БАЛЕТЕ И ЕЕ МЕТРОРИТМИЧЕСКАЯ ОРГАНИЗАЦИЯ

The article reveals the peculiarities of metrorhythmic organization of the classical dance cycle (suite), typical for Russian ballet of the XIXth century and its evolution in the early XXth century under the influence of innovations in the field of rhythm in the ballets by Igor Stravinsky. The purpose of this article is to find mechanisms of interaction between dance and music based on coordination of their temporal parameters. The material of analysis is the classical dance cycle that performs both compositional and dramaturgical functions in the ballet. Apart from the metrorhythmic and compositional system of organizing time in ballet music, other types of time can be distinguished: real, psychological (subjective) and conceptual, artistic time organizing the processes of the characters' life cycle and the development of action in the virtual time of the artwork. In a classical dance cycle in each number, real time predominates, but when the numbers alternate, subject to the principle of contrast, the conceptual time has a corrective effect. The alternation of musical and choreographic numbers in a ballet determines the rhythm of the form or "compositional rhythm" (according to V. P. Bobrovsky). The correlation of temporal proportions of numbers is considered on the example of ballets "Swan Lake" by P. Tchaikovsky and "Petrushka" by I. Stravinsky. The compositional unit is the duration of the stage segment of the musical form, the change of which creates the rhythm of the form.

14:30 Branke Popović - igra "muzičkog chronosa"

The paper discusses the composition 14:30 for two pianos by Branka Popović as a kind of postmodern game of "musical chronos" (Igor Stravinsky). Deliberation of aesthetic-poetic issues and attitudes of the composer concerning musical time and time in general, as well as an analytical-interpretative consideration of 14:30 are intended to point out the complexity of the problem to which this work essentially refers in its title: on the multiplicity of meanings of one 'section', 'fragment' of a time, which can be realized by different compositional-technical means and experienced in different ways. Given the predominant application of minimalist techniques, traditional ways of shaping, as well as procedures that resonate with expressionism, the possible narrower stylistic positioning of the work within postmodernism is also pointed out.

Музыкальное искусство XX века (на материале хорового творчества)

The lectures on 20th century Russian music published in previous issues of our magazine were devoted to the work of such outstanding composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke. In the last of the published lectures brief sketches on the music of Sergei Slonimsky, Valery Gavrilin and Elena Gokhman were presented. Completing this cycle of lectures, we shall give a general overview of the art of music of the previous century, which is examined on the basis of choral music and in the successive evolutionary movement of three periods. The beginning of the 20th century (the period between the 1890s and the 1920s) was a time of both gradual and abrupt transition from classics to modernity. During these decades the classical arts went through a period of gradual fading. Modern art asserted itself in all sorts of forms of pivotal renewal of all aesthetic and technical foundations, which received its extreme expression in the phenomenon of avant-garde art. The middle of the century (from the 1930s to the 1950s) was in no small measure opposed to the attitudes of the beginning of the century. In this time period it was dominated by a desire for orderliness and balance, for clarity and intelligibility, to the extent that this was possible in the highly contradictory reality of the 20th century, which was accompanied by a clearing and enlightenment of the musical style, as well as a return to tradition. In turn, the second half of the century (from the 1960s to the 1980s) in many respects opposed itself to the previous period with the processes of rapid modernization of composers’ thinking, intense artistic exploration and unrestrained experimentation, which resulted in an extremely representative movement, which began to be called the second avant-garde (in contrast from the first or early avant-garde which emerged at the beginning of the century). A radical renewal of artistic matter found itself in the mass of all kinds of inventions and sound techniques.

The Mental Life of Modernism: Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century by Samuel Jay Keyser

Reviewed by: The Mental Life of Modernism: Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century by Samuel Jay Keyser Mark J. Bruhn The Mental Life of Modernism: Why Poetry, Painting, and Music Changed at the Turn of the Twentieth Century. By Samuel Jay Keyser. Cambridge, MA.: MIT Press, 2020. Instantly intriguing, the subtitle of Samuel Jay Keyser’s latest book is somewhat misleading, for this work is not about why but about how the sister arts of music, painting, and poetry changed at the outset of the last century. In other words, Keyser aims not to explain the creative phenomena of modernism but rather to characterize the nature of their epoch-defining departures from long-held conventions such as tonality in music, mimesis in painting, and meter and rhyme in poetry. For Keyser, a generative linguist in the tradition of Noam Chomsky (to whom the book is dedicated), the prevalence of such conventions throughout history and across cultures indicates that they are based in “shared-rule systems” that emerge from innate cognitive endowments, much like natural languages. Hardwired in the brain, these rule systems constitute a “natural aesthetic” that constrained art production through the nineteenth century and thereby ensured the accessibility and intelligibility of the artifacts so produced: however they might subsequently evaluate it, audiences could (and still can) immediately recognize a pre-modernist poem, painting, or piece of music as such. Resisting and subverting these natural aesthetic constraints, early twentieth-century innovators introduced unprecedented difficulties of access and intelligibility for their audiences, who could no longer rely on entrenched predispositions in their uptake of artistic presentations and performances but were forced instead to confront a problem of “general intelligence”: namely, if not in the shared-rule systems of the natural aesthetic, in what exactly does the artistry of modernist art consist? An example will clarify the distinction Keyser means to draw. Comparable to certain sections of J. S. Bach’s Art of the Fugue (1742–49), the fourth movement of Arnold Schoenberg’s Quartet no. 2 (1907–08) opens with a motif based on a notational transcription of the composer’s own name. The (literally) key difference, however, is that where Bach develops his private musical pun within the tonal framework of the natural aesthetic, so that it is constrained within an acoustic space governed by natural pitches, octaves, and key signature intervals, Schoenberg abandons that framework and its constraints, leaving the private pun itself as the sole raison d’être for the structure of the resulting sequence. Thus, while a self-referential Bach sequence is immediately identifiable as music thanks to its dominant melodic line and regardless of whether one recognizes the pun at play in it, the self-referential Schoenberg sequence will likely make “musical” sense only if one gets the pun through an effort of reflective intelligence that is supplemental to the act of auditory intuition. For Keyser, abandonment of the shared-rule systems of the natural aesthetic in favor of a “private format” of the composer’s (or painter’s or [End Page 266] poet’s) own invention is the hallmark of modernist art and the chief reason for its notorious difficulty. This puts the matter rather unsubtly, and though early on Keyser appears to be mounting an either-or, once-and-for-all argument, he ultimately arrives at a more nuanced position that recasts “private” cognitive formats as more or less so and modernist experimentation as, historically speaking, not so much a singularity as a recurrence or even continuity. A too strict, either-or application of Keyser’s rule-based thesis would lead one to conclude that formal poets such as W. B. Yeats and Robert Frost, representational painters such as Franz Marc and Egon Schiele, and tonal composers such as Maurice Ravel and Igor Stravinsky were not modernists, or, equally problematically, that one and the same artist was sometimes more modernist, sometimes less so. A case in point is Keyser’s discussion of the cubist paintings of Georges Braque and Pablo Picasso. Cubism is, presumably, a modernist mode par excellence, but as deployed in individual paintings its degree of abstraction from a mimetic standard varies. Keyser argues that...

Творчество А.Г. Шнитке

The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgy Sviridov, and Rodion Shchedrin. This series is being continued with a lecture about the music of Alfred G. Schnittke. The fi rst part of the lecture (“National ‘Fermentations’ and Early Works”) examines the questions of the genesis of the composer’s personality and the initial stage of his artistic formation with a drastic reorientation from a traditional style to avant-garde experiment. The second part (“The Middle Period”) is devoted to Schnittke’s explorations in the direction of contacts with wide audiences, which went along various lines of democratization of his artistic approach. The conclusive part (“The Late Style”) is directed towards the composer’s immense contribution to the formation of the stylistic realities of the Postmodern aesthetics. During the course of the lecture’s exposition fragments of musical compositions are offered with recommended performances of them, in their sum providing a perception of the most substantial sides of Alfred G. Schnittke’s musical output.

Boris Asafiev as a Stravinsky scholar

Boris Asafiev, pen name Igor Glebov, was a Russian musicologist, composer, music critic, pedagogue, public figure, publicist; author of works devoted to the music of Igor Stravinsky. The article examines A Book about Stravinsky (1929), one of the earliest monographs on the composer in any language and the first one in Russian. It is characterized as an outstanding musicological study of Stravinsky?s works that had appeared by that time, that is, from the early period to the works completed in 1927 (Oedipus rex, Apollon musag?te and The Fairy?s Kiss).

İGOR STRAVİNSKİ’NİN ÜÇ BALE YAPITINDA MÜZİKSEL TASVİR: ATEŞKUŞU, PETRUŞKA VE BAHAR AYİNİ

İgor Stravinski’nin, Sergei Diaghilev’in Bale Rus topluluğu için bestelediği ilk üç bale eserinde Rus kültürü temel ilham kaynağıdır. Ateşkuşu (1910), Petruşka (1911) ve Bahar Ayini (1913) şeklinde sıralanan bu eserlerde besteci aynı zamanda ritmik, armonik ve tınısal buluşlarıyla yenilikçi tekniklerin örneklerini sunmuştur. Bu eserlerin konusu ses dizilerinin ve melodik materyalin seçiminden ritmik ve tınısal işleyişe kadar müziği şekillendirmiştir. Kahramanların insan veya mitolojik bir varlık oluşu, olayların doğaüstü veya gündelik oluşu, sahnelerin tasvir ettiği olayların gizemi; iyi-kötü, güvensiz-güvenli gibi birçok değişken söz konusu yapıların işleneceği müziksel referansları belirlemektedir. Bu yaklaşım eserlerin yaratım sürecini belirleyen esas etkendir. Bu araştırmanın amacı Stravinski’nin Ateşkuşu, Petruşka ve Bahar Ayini’nde kullandığı müziksel tasvirin özelliklerini tespit etmektir. Nitel bir yöntem izlenerek literatür taranmış; bestecinin uygulamaları hakkında ipucu verebilecek mektupları ve anıları incelenmiştir. Müziksel referansları tespit etmek için eski Rus halk şarkısı antolojileri taranmış ve bunların karşılıkları üç bale eserinin partisyonlarında aranmıştır. Çalışma sonucunda halk müziği materyalinin, halk kahramanlarını veya fanileri tasvir etmede kullanıldığı görülmüştür. Bestecinin bunun için halk şarkılarından alıntılar yaptığı veya kendi üretimi olan modal ezgileri kullandığı görülmüştür. Sihirli, ölümsüz ve korkunç kahraman ve olayların tasvirinde ise simetrik dizilerin (oktatonik ve tam-ton) ve tritonal olanakların kullanıldığı görülmüştür.

Rethinking Igor Stravinsky Historically and Theoretically — II

The article is a continuation of the author’s reflections on the phenomenon of musical polymorphism (the beginning is in Vol. 124, 2019). Stravinsky’s use of the environment, space, motion, dissonance, and Janus morphemes is considered as his inheritance from a tradition dating back to the work of his great predecessors. The musical tableau Sadko by Rimsky-Korsakov, the prelude Dawn on the Moscow River to Mussorgsky’s Khovanshchina, and Borodin’s symphonic poem In the Steppes of Central Asia are a clear confirmation of this. In Sadko Rimsky-Korsakov reveals himself as the founder of musical polymorphism, which is a historical alternative to the AustroGerman classical symphonism, Liszt’s monothematicism, and Wagner’s leitmotivism. RimskyKorsakov’s adherence to polymorphic methods of developing his musical material has clear roots in folklore. Those roots can also be traced just as clearly in Mussorgsky’s Dawn on the Moscow River. Mussorgsky’s masterpiece is stripped of all remplissage, all transitions, and contains only what is most essential and significant. And at the same time it has consistent polymorphism, penetrating into all levels of the musical fabric, and across-the-board variation in the melody, harmony and texture. The multi-element polymorphism of Dawn on the Moscow River forms the basis of the first tableau in Stravinsky’s Petrushka. The growing chaos of Shrovetide Fair is brought to life by means of textural condensation, a gradual transformation of the musical fabric from multi-elemental and polymorphic into sonorous and coloristic.

Wielogłosowość i milczenie w poetyce żydowskiej — ,,gdy ciało staje się słowem”: kilka uwag o poezji Zuzanny Ginczanki

The article is an attempt at presenting an inspiring writing of Zuzanna Ginczanka (Polina Gincburg) who was a Ukrainian-born Jewish poet writing in Polish. Due to her multifarious identity, it is in her poetry that one finds voices that reverberate from various nations and cultures, which makes an original polyphonic, geographic and mythological texture. Ginczanka’s poetics venerates the body since, in her view, contrary to the dogma of incarnation, it was the ‘flesh that was made word’. In her poems it is the Songs of So gs whose physicality more than metaphoricity inspires the poetic images. It is also nature that becomes an incentive for the poetic creation, which proves that poetry derives from the Greek word poiesis . In the times of the Holocaust atrocities, the language of poetry became for her the ‘house of poetic Being’ and several geographical places served her as security which, however, she had to constantly abandon in fear of Nazi repressors. Her monumental poems, chief among which is ‘The Fire-Bird’, due to its orchestration and almost sonorous imagery can compare with Igor Stravinsky’s ballet of the eponymous title. Her attachment to the earth and the living place, no matter how insecure, brought about that several geo-poetic images can be traced in her poetic works.

Вторая мировая война в зарубежной музыке. К 75-летию Победы

Everybody is well familiar with the musical chronicles of World War II created by Soviet composers, which are exclusively significant in their artistic merits. But usually our perceptions of what was written in the 1940s by composers outside of Russia are not so concise. The list of such works is significantly high and, just like in Russian music, the most important positions were held by the genre of the symphony: Arthur Honegger’s Second Symphony, Ralph Vaughan Williams’ Fifth Symphony, Roy Harris’ Fifth Symphony, Bohuslav Martinu’s Third Symphony, as well as programmatic works in the genre – Karl Amadeus Hartmann’s “Tragic Symphony,” Josef Stanislaw’s “Red Army Symphony,” Max Rubin’s “War and Peace Symphony,” Henri Sauguet’s “Expiatory Symphony,” Arthur Honegger’s “Liturgical Symphony,” etc. Musical compositions in various choral and vocal-symphonic genres were broadly represented: Luigi Dallapiccola’s “Canti di prigionia,” Darius Milhaud’s “Cantate de la guerre,” Goffredo Petrassi’s cantata “Coro di morte,” Vít Nejedlý’s cantata “Tobě Rudá Armádo,” Ernst Krenek’s “Cantata for Wartime,” Francis Poulenc’s “Figure Humaine,” Alfredo Casella’s “Missa Solemnis ‘Pro Pace’,” Paul Hindemith’s “Requiem ‘For Those We Love,’” Arnold Schoenberg’s “A Survivor from Warsaw,” etc. This multitude of mentioned and unmentioned compositions must be joined by two outstanding musical scores created by our compatriots who lived at that time in the USA: Sergei Rachmaninoff’s “Symphonic Dances” and Igor Stravinsky’s “Symphony in Three Movements.” The first of them was being created when the world was just immersing into the abysm of the catastrophe – particularly this poignantly topical situation determined the directedness of Rachmaninoff’s conception, which may be defined by the paradigmatic phrase “war and peace.” Stravinsky’s symphony was written at the end of World War II, when the wartime harvesting campaign had to a certain extent already become the habitual destiny for the planet, so the composer brings out to the forefront the idea that “war is work,” or, in other words, “a la guerre comme a la guerre.” Keywords: World War II, its chronicles in the music of composers outside of Russia, Rachmaninoff's “Symphonic Dances,” Stravinsky’s “Symphony in Three Movements.”

Leonid Myasin's Music Laboratory: on the 125th anniversary of the birth of the outstanding choreographer

The article is devoted to the consideration of the musical component of the artistic activity of the outstanding choreographer of the Russian diaspora Leonid Myasin (1895-1979), whose 125th birthday is celebrated by the theatrical world in 2020. The main milestones of the choreographer's musical education are noted, the spectrum of his musical interests is revealed, and techniques of working with the music of the created ballets are studied. The purpose of the research, carried out using historical and typological methods, is to study the stages of the formation of the choreographer's musical maturity, his author's style. The circumstances of Myasin's collaboration with contemporary composers Manuel de Falla, Eric Satie, Sergei Prokofiev, Paul Hindemith are considered. Special attention is paid to the process of formation of a system of artistic methods of working with music in the joint work of the choreographer with Igor Stravinsky on the implementation of the ballets "Pulcinella", "Sacred Spring". The questions of Myasin's attitude to such spheres of musical expressiveness as rhythm, dynamics, timbre are highlighted. The methods of the choreographer's work with works of symphonic music are studied, the methods of achieving musical and plastic synthesis in the stage solutions of Myasin's choreographic symphonies are analyzed: "Omens" (1933) to the music of the Fifth Symphony by P. Tchaikovsky, "Choreartium" (1933) to the music of the 4th Symphony by I. Brahms, "Fantastic Symphony" (1936) to the music of the symphony of the same name by G. Berlioz, etc. It is concluded that the laws of musical composition and dramaturgy were a source of artistic renewal and enrichment of the author's style for the choreographer, the development of the intellectual beginning of his choreography.

MÚSICA CONTEMPORÂNEA: DA ERUDIÇÃO DO PENSAMENTO À MASSIFICAÇÃO DO ENSINO

More than a hundred years have passed since Arnold Schoenberg's Pierrot Lunaire debut or Igor Stravinsky's Spring Rite, about seventy separate us from the time when John Coltrane “liberated” jazz with freestyle, and there is still talk. of these creations as being “contemporary” understood only by 'experts', even within the professional music class. In a society that lives in a spiral of information accessed almost in real-time, taking advantage of the answers to the knowledge that are at a distance from a smartphone connected to the network, we propose a short-term curriculum organization that focuses on: art as a factor of human affirmation; the concurrent participation of different disciplinary manifestations in the construction of the artistic object; the direct and / or indirect involvement of the social condition in which the work is created; their individual interpretation and aesthetic understanding. Above all, the aim is to demystify creative processes and promote educational policies that promote the inter and transdisciplinarity of educational development.

Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)

Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)

Spiritual dualities revealed by the hermeneutic analysis of „Symphony of Psalms” by Igor Stravinsky)

Spiritual dualities revealed by the hermeneutic analysis of „Symphony of Psalms” by Igor Stravinsky)