Russian Romanticism Research Articles

ნიკოლოზ ბარათაშვილის ლექსის „როს ბედნიერ ვარ შენთან ყოფნითა“ პირველწყაროსათვის

In the notes and comments on the poetic works of Nikoloz Bara­tashvili, it is erroneously stated that his poem “When I am happy with your presence” is based on the anonymous Russian song "The Brook" that is suggested by Nikolai in Leo Tolstoy’s novel “War and Peace” and the text of which is quoted by the writer's wife Sophia Tolstaya in her memoirs “My Life”. But in reality, as we have managed to find out, “When I am happy with your presence” has nothing to do with “The Brook”. Nikoloz Bara­tashvili’s poem is s a translation of the once popular romance by the Russian composer Pyotr Bulakhov to the words of “Kol’ sĉastliv ja s t’aboi bivayu” (“How I am happy with you”) by Vasily Chuyevsky, a Ru­ssian poet of the mid-19th century. Nikoloz Baratashvili’s trans­lation is as close as possible to the Russian source, to its meter, into­nation and refrain in the stanzas and key images of the original source. At the same time in Georgian translation some lines are modified and the melodic tonality of the original text is intensified. The date of Nikoloz Baratashvili's translation of the Russian romance is not indicated in the autograph. According to the editors of publications of his works, the translation was made in 1841. Biographical information about Vasily Chuevsky is almost comple­tely absent. It is only reliably known that he was one of the most remarkable poets and songwriters of the mid-19th century. There is information that in the mid-1840s, while being a student at Moscow University, he, together with Alexander Dubuque, a Russian com­poser and music teacher, published musical editions of romances and songs in 1846. Taking into account the year of Nikoloz Baratashvili's death, 1845, and the fact that some time had to pass before Vasily Chuevsky's ro­mance could come to the attention of the Georgian poet, certain conclu-sions can be made about the time of the creation of the Russian romance and its adaptation into Georgian. The translation of the Russian romance by Nikoloz Barata­shvili ex­pands our understanding of the character of the develop­ment of vocal lyrics in Georgian romantic poetry and, at the same time, deserves attention because there is almost no data on the life, creative activity and lifetime popularity of Vasily Chuyevsky. We attach to the article Petr Bulakhov’s notes on the words of the romance by Vasily Chuevsky, expanding our understanding of the nature of the music and text that attracted the attention of Nikoloz Baratashvili.

Aesthetic Principles of European and Russian Romanticism, Azerbaijani Romanticism

At the end of the 18thcentury, the emergence of the artistic movement of Romanticism in European culture led to innovations in aesthetic approaches not only in this region of the world, but also in a more global environment. Speaking about the genesis of Western European romanticism, one cannot ignore the role of the cultural and philosophical ideas of romanticism in those trends and methods that will be formed in subsequent stages. There is no doubt that the emergence of romanticism was able to change the worldview of people who lived at that stage, influencing all spheres of social thought. However, it is illogical to forget that there is a certain disharmony in the created process.

Russian ballet on the pages of the magazine “Zhar-ptitsa” (1921–1926)

INTRODUCTION. Monthly literary and artistic illustrated magazine “Zhar-ptitsa”, published from 1921 to 1925. in Berlin, in 1926 – in Paris, is a successor to the traditions of such magazines of the early twentieth century as “World of Art”, “Golden Fleece”, and is of scientific value as an additional source of information on the study of the theatrical life of the Russian Abroad. The purpose of the study is to conduct a detailed analysis of the magazine’s articles related to the creative activities of representatives of Russian ballet in exile.MATERIALS AND METHODS. The basis is taken from digitized versions of the magazine, posted in the public domain on the website “Presidential Library named after B.N. Yeltsin”. All 14 “Zhar-ptitsa” magazines were analyzed. Both articles related to the activities of representatives of Russian ballet in emigration, as well as various types of illustrations: photographs, drawings, reproductions, etc., were studied in detail.RESULTS AND DISCUSSION. It was revealed that in many issues of the magazine there are no articles devoted to Russian ballet, but there are photographs of ballet dancers in stage costumes and images, drawings related to ballet art, reproductions of sketches for ballet performances, which are also of scientific value in the reconstruction of ballet scenography, the study of this period of history. Four issues of the magazine “Zhar-ptitsa”, no. 1, no. 2, no. 10, no. 11, contain articles dedicated to the art of ballet: the work of M.M. Fokina, A.M. Pavlova, E.P. Eduardova, as well as B.G. Romanov and his choreographic group “Russian Romantic Ballet”.CONCLUSION. Despite the abundance of scientific articles devoted to the periodicals of the first wave of Russian emigration, information related to the history of Russian ballet remains poorly studied. The co nducted research introduces into scientific circulation materials dedicated to Russian ballet, and placed on the pages of the periodical of Russian emigration – “Zhar-ptitsa”. It seems promising to further study the journals of Russian emigration for the analysis of articles related to the history of Russian ballet.

Член Союза благоденствия С. Д. Нечаев в Обществе любителей российской словесности при Московском университете

The terms “literary Decembrism” and “Decembrist literature”, which have become established in literary studies, denote the civil trend in Russian romanticism of the 1810s-1820s. In addition to the Decembrist writers themselves, an important role in this direction is assigned to A.S. Pushkin, who has never been a member of secret societies. As an alternative, we consider the case of the writer S.D. Nechaev. He was a member of the Decembrist secret society Union of Prosperity, but remained in the history of Russian literature as the author of sentimental album poems and moralizing aphorisms. His only poem filled with truly civic pathos was “The Drinking Song of the Greeks” (1823). However, for Nechaev, membership in a secret society was not an empty formality. At the end of October he also became a member of the Society of Lovers of Russian Literature at Moscow University. And already in November, Nechaev spoke to “lovers of Russian literature” with a speech “On the choice of objects in the fine arts in general”. The speaker promoted ideas and aesthetic principles that he did not adhere to in his own work, but which were enshrined in the statutory document of the Union of Prosperity. So he denied his own value of art and saw its purpose in serving the “common good”, strengthening morality and virtue, and educating youth. This article substantiates the proposal to consider the speech of Nechaev not as his individual speech, but as a propaganda action of the Union of Prosperity.

ANTITEZA „NORD-SUD” ÎN LIRICA LUI FIODOR TIUTCEV

This article delves into the rich and evocative poetry of F.I. Tyutchev, a prominent figure in Russian literature, to explore the recurring theme of the North-South antithesis in his lyrical works. Tyutchev's poetic oeuvre, renowned for its profound symbolism and metaphysical themes, often delves into the dichotomy between the Northern and Southern landscapes. Through a meticulous analysis of selected poems, this study elucidates how Tyutchev's utilization of geographical and climatic oppositions between North and South serves as a metaphorical and ideological vehicle. By examining verses that depict the icy, desolate expanses of the North in stark contrast to the warm, fertile lands of the South, we unravel Tyutchev's complex portrayal of these regions. The North is often associated with isolation, introspection, and melancholy, while the South symbolizes vibrancy, sensuality, and emotional liberation. This article underscores how Tyutchev's lyrical antithesis between North and South encapsulates not only his personal contemplations but also his reflections on the broader cultural context of his time. As we navigate the verses of Tyutchev, we discover a subtle yet profound exploration of the eternal human struggle between opposing forces, a reflection of the turbulent era in which he lived. In sum, this study offers a comprehensive analysis of Tyutchev's poetic exploration of the North-South antithesis, shedding light on the multifaceted dimensions of this thematic dichotomy and its implications for understanding his contribution to Russian Romantic literature and the broader cultural discourse.

Басня В. А. Жуковского «Звезда и комета»: история текста и смыслы

The aim of the research is to identify the semantic component and artistic specificity of the images of celestial bodies in V. A. Zhukovsky’s poem “The Star and the Comet”. The paper is devoted to comparing Zhukovsky’s fable with a German source and considering the movement of poetic thought from the draft to the final version of the text; the mechanisms underlying the transformation of visible pictures of the universe into an artistic image with a high emotional impact are determined. The scientific novelty of the research consists in clarifying the factual basis of Zhukovsky’s writing of the fable “The Star and the Comet”, considering the creative history of the poem, interpreting it not only as a loose translation of the poetic study by Gottlieb Konrad Pfеffеl, but also as a result of superimposing the author’s own experimental observations of the movement of celestial bodies on the German source, which expands the understanding of cosmic imagery features in the aesthetics of Russian Romanticism. As a result of the research, the functional spectrum of the images of celestial bodies in Zhukovsky’s poem “The Star and the Comet” has been determined, the ratio of the national to the universal in these images has been revealed. Through textual and cultural-historical commentary, the mechanisms of poetic embodiment of the cosmos model as a fragment of the national worldview are traced, Zhukovsky’s handwritten materials are analyzed in relation to the intellectual realities of the 1820s.

‘Gogol’s uneasy truth:’ The end of the journey

The article is written in memory of Yury Mann and follows the life and work of the prominent scholar, whose books not only constitute a landmark phenomenon of Russian literary studies but also offer a new perspective on a number of episodes in the history of literature. Mann’s scholarly career was shaped in the years after WWII. In his book of memoirs, written towards the end of his life, Mann attempts an analysis of his philological pursuits and how, trying to keep up with contemporary trends, he would still occasionally find himself to be an outsider. The article sets out to explain how Mann’s personal and scholarly journey eventually resulted in his remarkable achievements.The author pays special attention to a lesser-known sphere of Mann’s interests: his analytical studies of modern literature (among fellow philologists, he is mostly known as an expert on Gogol and Russian romanticism), his thoughts on conventionality in art, and compelling evidence that Mann’s works follow traditions of Russian formalism.

The History and Development of the Musical Romans as a Genre: A Short Overview

The purpose of this essay is to trace the lines of evolution of the Russian romance, which found fertile ground for its development from the mid-18th century. The genre was firmly embedded in a tradition that had originated a century and a half earlier, but its roots lay in the oral production of ancient Rus’. Despite this strong historical-anthropological imprint, the diachronic development of Russian romance, as a hybrid genre of dual nature—poetic and musical—addressed to both elite and mass audiences, is marked by a series of revivals and contaminations (mainly in 19th-century Europe, especially in Italy). The article, based on culturological, literary and historical studies, presents a brief overview of the development of the genre and its various sub-genres, such as bytovoĭ romans, romans-ballad, romans-elegii͡a, up to contemporary songs and melodies.

Connections between 18th-Century Russian and European Culture

Connections between 18th-Century Russian and European Culture Ivan A. Abramkin I. M. Marisina, Ocherki po istorii mezhdunarodnykh sviazei Imperatorskoi akademii khudozhestv vo vtoroi polovine XVIII–pervoi treti XIX veka (Essays in the History of the Imperial University of Art's International Contacts in the Second Half of the 18th and the First Third of the 19th Centuries). 440 pp. Moscow: BuksMArt, 2021. ISBN-13 978-5907267473. M. A. Pozharova, Evropeiskie kontseptsii iskusstva v russkoi kul´ture XVIII veka: Ocherki (European Concepts of Art in 18th-Century Russian Culture: Essays). 240 pp. Moscow: BuksMArt, 2022. ISBN-13 978-5002030019. Both of the books reviewed here share commonalities not only in their essay-collection format but also in their subject (cultural interactions between Russia and Europe in the 18th century). Russian-language scholarly work on this problem in the field of art history owes much to the pioneering research of D. V. Sarab´ianov, who studied 19th-century Russian painting in the context of European schools.1 Before this book, scholars of art tended to consider Russian and European art in isolation from one another. Sarab´ianov aimed both to identify the general features of artistic processes common to both and to reveal the national specifics of concrete phenomena; in the process, he uncovered a variety of links among different traditions, inaugurating a methodologically novel approach. He considered not only general problems (the specifics of Russian Romanticism, Realism, Impressionism, and Modernism in the European context) but more specific ones as well (comparing artists of A. G. Venetsianov's circle and German Biedermeier art, A. A. Ivanov and the [End Page 403] Nazarene movement, V. I. Surikov and European historical painting, V. E. Borisov-Musatov and Les Nabis). Sarab´ianov did not analyze 18th-century art in detail, but applying his approach to that period became a hallmark of the Moscow school in the field of art studies. This tradition was associated with the name of O. S. Evangulova—a professor at Moscow State University and a leading specialist of the last decades on 18th-century Russian art—and actively developed two thematic areas: the study of Russian-European artistic relations of this era and the consideration of the customer's role in the development of national culture and the creation of art collections. In the 1990s and 2000s numerous dissertations were written on issues of French influence in the field of painting under Evangulova's guidance: the work of Jean-Louis Voille in Russia, the activities of French artists at the court at the beginning of the 18th century, the art of Jean-Laurent Mosnier in Russia, and the interaction of Alexander Roslin with the Russian artistic environment.2 In 2007, Evangulova wrote a monograph on 18th-century Russian travelers' perceptions of European art schools, which highlighted the most important aspect for understanding the cultural dialogue between Russia and Europe.3 The development of sculpture was already being actively investigated in the Russian Academy of Art; in the 2000s, several dissertations examined the work of Marie-Anne Collot in the context of the Enlightenment era and style formation in the art of Étienne Maurice Falconet.4 These researchers paid special attention to the role of English art in the development of 18th-century Russian culture: the interest of researchers in Moscow and in St. Petersburg was drawn both to general aspects of interaction in the field of painting and the work of certain masters—John Atkinson and James Walker.5 [End Page 404] ________ Marisina's book aligns with the contemporary trend in art studies in Russia, which is characterized by close attention to the history of art education: if S. V. Moiseeva's research is devoted to the establishment of the Academy and the educational organization of various painting classes, then this work is her international relations counterpart.6 The introduction of the book highlights the background of the academic project in Russia, which already in Peter the Great's plans assumed a focus on Europe and attention to Russia's international reputation (8). The purpose and objectives of the book are not specified in the introduction, but in the abstract the problems of the work are associated with the...

The Fort Ross Story

This article examines how late nineteenth- and early twentieth-century U.S. colonists in California constructed an imaginary “Fort Ross Story” alongside a broader attempt to claim the Kashia Pomo homeland of Metini. This settler heritage work at Metini-Ross began in 1892, following the removal of Pomo and Miwok peoples. Fiction and journalism about Russian Fort Ross captured the public imagination with tragic stories of European aristocrats and imperial outposts. Heritage groups such as the Native Sons of the Golden West rebuilt the decaying fort in the mold of these stories. Together, writers and preservationists attempted to conceal the Kashia homeland beneath imagined layers of Russian romance and tragedy. Examining this history reveals the broader role of local heritage work in U.S. settler colonialism and the connections between forced removal and heritage work in California.

«Назад к Островскому»: деконструкция постановки классики в режиссерском театре 1920-х годов

Ostrovsky’s centenary in 1923 gave impetus for a major leap in the history of directing. Ostrovsky turned out to be the first author whose plays were staged almost simultaneously (within 3 years) in all styles of Russian directing. Alexander Tairov staged “The Storm” at the Moscow Kamerny Theatre, in 1924, by mythologizing Ostrovsky’s tragedy. The myth of the Russian soul outside the boundaries of time turned out to be in the center of his performance. The psychological portrayal of the 19th-century drama’s character was mastered by the mythological approach. Such components as mythological thinking, constructivism, and the concept of Ostrovsky’s secret mysticism of the Russian soul were combined for the first time. Actress Alisa Koonen delved into the archetype of the heroine. The avant-garde production of Sergey Eisenstein’s “Enough Stupidity in Every Wise Man” at the First Workers’ Theatre of Proletkult (1923) was connected with the ancient tradition of the fairground booth show. For the first time in the history of the Russian theatre, a director used the principles of open actualization of the classic play, the connections between drama and the circus, cinematic methods in the theatre, and a “montage of attractions”. “A Profitable Position” staged by Vsevolod Meyerhold (Theatre of the Revolution, 1923) was associated with Russian romanticism. The production revealed the two worlds — the spiritual reality in the opposition to the material everyday life. The metaphorical performance was built according to the principle of a thematic development similar to music. In “The Forest” at the Meyerhold Theatre (1924), the director contrasted three genres and semantic layers: a farcical level, a love line, as in Russian romanticism of the 19th century, and a layer that united the structure — acting and theatricality (the leitmotif of actors and acting). The visual dynamic of the dialogue with hyperbolic expression became the director’s principle approach. In his work on the production “An Ardent Heart” (Moscow Art Theatre, 1926), Stanislavsky created the phenomenon of the psychological grotesque. The performance was perceived by most critics as satirical and accusatory. Stanislavsky did not lose interest in the motives of human behavior, especially of a theatrical nature, and revealed a certain way of human thinking. The progress in the new discoveries in Ostrovsky’s dramaturgy in the first half of the 1920s shaped the main courses in which the Russian theatre was developing in the 20th century.

Опыт авангардной агиографии: повесть А. М. Ремизова «В розовом блеске: Из Прóлога»

The article analyzes the history and poetics of the fi rst work created by the writer after the death of his wife, S. P. Remizova-Dovgello. In his experimental vanguard text, Remizov merges the poetics of the ancient Russian literature and Russian Romanticism of the early 19th century. The article reveals the sources of the titles In Pink Glow and Through the Fire of Sorrows.

Development of moral and psychological stability of youth through the use of music in the process of teaching spiritual and moral disciplines

The article gives a brief overview of the use of music as an innovative teaching method in the teaching of spiritual and moral disciplines on the example of the Department of Theology of the Don State Technical University. Possibilities of one of effective means of formation of spiritual culture through musical art are considered. The analysis of the effective experience of the use of musical innovative methods and forms of training is carried out. Since 2020 the project "Classical music and spirituality" began to be realized, which is aimed at the spiritual and moral education of students through familiarization with the works of classical music art and culture (holding gala concerts, participation and organization of competitions, musical lectures, evenings of Russian romance, author and project manager Andrei Alexandrovich Mekushkin, the head of the DSTU Theology Department). In addition, since 2020, the introduction and use of innovative forms of learning, including music as a means of emotional harmonization, stabilization of psychological stability, education and formation of spiritual culture in the process of teaching disciplines of spiritual and moral orientation "Fundamentals of Morality" (teacher of DSTU Theology Department Olga Nikolaevna Enina).

Development paths of national literature and the formation of the romantic criticism style in A. A. Bestuzhev-Marlinsky’s papers (to the 225th anniversary of the birth)

The paper presents a holistic view of the main literary critical articles written by A. A. Bestuzhev-Marlinsky, the most influential representative of Russian Romanticism. The aim is to identify the main trajectories of the linguistic and stylistic influence of Bestuzhev’s critiques on the further fate of this genre of Russian opinion journalism. The research focused on the critic’s observations about the development of Russian literature and language as well as the writer’s individual style. The study employed integrating and comparative methods in conjunction with linguo-stylistic text analysis. Bestuzhev understood romanticism as a course of progressive development and improvement of literature and language. Consequently, he devoted much attention to the analysis of the previous experience of world and Russian literature. The paper examines the most interesting observations made by the writer and the contribution of Bestuzhev the theorist to understanding Russian literature evolution. The development paths included democratising the literary language, enriching it with means of different layers of live speech, defining the requirement for literary historicism, i. e. the congruence between the language of an artwork and the language of the era of the depicted events. The linguistic and stylistic devices used in Bestuzhev’s critical texts were identified. These include the use of a vast repertoire of lexical units, elaborate metaphors, a variety of similes and parallel constructions, rhythmical and emotionally charged syntactic constructions. The paper also examines the specific features of Bestuzhev-Marlinsky’s occasional word formation and the devices of irony and a language game he used. In addition, the research explored the writer’s preference for aphoristic language and his attempts to overcome the established language standards with respect to archaic vocabulary (poeticisms) and borrowings.

Neopogański wymiar współczesnej rosyjskiej filozofii: cielesność kontra racjonalność

The Neo-Pagan Dimension of Modern Russian Philosophy: Corporality vs RationalityThe article analyses the essence of and reasons for the “neo-pagan turn” of Russian culture and philosophy of the 19th–21st centuries to the theme of “corporality”, which is presented in a wide range of approaches, from Russian Romanticism to modern Russian projects of “new metaphysics” and “progressive archaism”. The author exemplifies the actualization of the corporality theme as the renaissance of neo-paganism in philosophical discourse with phenomena of the Silver Age, Russian philosophy of the first part of the 20th century (represented by V. Rozanov’s, N. Berdyaev’s and L. Shestov’s concepts), Soviet natural philosophy prose of the 1960s–1980s (Ch. Aitmatov, V. Rasputin, V. Astafayev), and modern Russian political philosophy (the National-Bolshevik project led by Aleksandr Dugin). It is concluded that neo-paganism is an invariant cultural phenomenon, an attempt to solve problems of modern society and modern man. Therefore, it functions as a new ideological strategy, new philosophy and new religion.

Художественный перевод как риторическая коммуникация. Поэзия «озерной школы» в русских переводах

The article summarizes the results of research aimed at studying literary translation as rhetorical communication. The analysis of the works of the poets of the “Lake School” in Russian translations was carried out using a neo-rhetorical approach. This approach allowed not only to expand the understanding of the role of literary translation as part of the literary process, but also to establish the factors of genre dynamics in the literary process of the host culture and to describe the factors in the formation of the dialogue of cultures. The study of literary translation as rhetorical communication is based on a number of provisions. This is a study of literary translation as the transformation of the Other into One of us based on the three competencies of the text — referential, creative and receptive. The involvement in the field of research of works that characterize translation multiplicity, translation dispersion and culturally determined translation strategies was carried out using the methods of comparative literature and rhetoric. Pushkin’s and Balmont’s translations are analyzed as manifestations of domestication, Pushkin’s translation-paraphrase and Balmont’s interpretive translation which determined the appearance of the “Russian” Wordsworth and the renewal of the sonnet in Russian romanticism and symbolism. The phenomenon of translation multiplicity as a source of literary translation and its function as rhetorical communication is illustrated by Russian translations of Wordsworth’s sonnet in the 20th century. The technique for calculating the accuracy index of literary translation is presented which seems fruitful for creating new translations. Another function of literary translation as rhetorical communication is considered from the perspective of the author’s illocutionary influence on the reader and the translations of Coleridge’s poem by Gumilyov and Levik are examined as a case study.

To Reveal the Caucasus Cultures of XIX Century: Orientalism in Russian Caucasus War Period Travelogues

The paper is concerned with the issue of textual visualisation of Caucasus in Russian travelogues performed in 1820-1830th – the decades of the Caucasus War escalation. Taken as example entries from the travelogues of I.T. Radojitsky and V.B. Bronevsky published in Russian Empire in early XIX c., the authors show deep connections of the outlook on the region and people inhabited it with the foundation of the Orientalism as an approach to describing native people of the Imperial frontier.The research underlines the importance of scrutinised study of travellers experience they endured on voyages by the Caucasus in deep connection with the political course on “pacifying” the region, proclaimed by the Imperial authorities. Racy images of the Cossacks, Russian settlers, native peoples and “unpacified” highlanders were performed in order to legislate the Imperial annexation of lands and their acquisition by Russian civilisation. Together with the motives of showing huge contrast between the pastoral life of Russian peasants and towns dwellers with the backwardness of the natives, matched the common ideas of European colonialism, the authors show public awareness of the “unpacified” highlanders expressed by the travellers in the image of “a Circassian”. We traced features of Russian literature Romanticism in the travellers depicture of a Highlander as a “noble savage” did for a living by robs and plunders. The authors came to the conclusions that images, elaborated by Russian travellers and righters were utter vivid and influenced on the perception of the region by Russian layman until the early XX c.The paper is concerned with the issue of textual visualisation of Caucasus in Russian travelogues performed in 1820-1830-th. – the decades of the Caucasus War escalation. Taken as example entries from the travelogues of I.T. Radojitsky and V.B. Bronevsky published in Russian Empire in early XIX c., the authors show deep connections of the outlook on the region and people inhabited it with the foundation of the Orientalism as an approach to describing native people of the Imperial frontier. The research underlines the importance of scrutinised study of travellers experience they endured on voyages by the Caucasus in deep connection with the political course on “pacifying” the region, proclaimed by the Imperial authorities. Racy images of the Cossacks, Russian settlers, native peoples and “unpacified” highlanders were performed in order to legislate the Imperial annexation of lands and their acquisition by Russian civilisation. Together with the motives of showing huge contrast between the pastoral life of Russian peasants and towns dwellers with the backwardness of the natives, matched the common ideas of European colonialism, the authors show public awareness of the “unpacified” highlanders expressed by the travellers in the image of “a Circassian”. We traced features of Russian literature Romanticism in the travellers depicture of a Highlander as a “noble savage” did for a living by robs and plunders. The authors came to the conclusions that images, elaborated by Russian travellers and righters were utter vivid and influenced on the perception of the region by Russian layman until the early XX c.

Russian urban Romance and "Meeting of Cultures": on the question of the interpretation of the genre by Chinese performers

Russian urban Romance and "Meeting of Cultures": on the question of the interpretation of the genre by Chinese performers

“RUSSIAN AND TREPAK” BY A. RUBINSTEIN IN MODERN CONCERT PRACTICE OF BAYANISTS

The article deals with the problems of bayan transfer, which for this type of performing art are relevant due to the fact that the number of translations is the largest part of the concert and educational repertoire of the bayanists. The manuals for translating instrumental works for the bayan of such authors as M. Davydov, F. Lips, B. Strandnolubsky from the position of the style range of the primary sources of this type of creativity are analyzed. The article reveals the problem areas and complexity of the translation of the works of the romanticism and impressionism for the bayan who, despite the warnings of famous methodologists of the bayan art, occupy a prominent place in the repertoire of modern concert performers and students of musical colleges of Ukraine, Russia and Belarus. The technology of creating piano music translations of Russian romanticism for the bayan understands the example of A. Rubinstein’s work “Russian and Trеpak”. A detailed analysis of the composition from the standpoint of the specificity of the shaping, the dashed and dynamic palette of the work, the range used in the translation of the bean techniques of the game is presented. A comparative analysis of the musical text of the original and the only printed bayan translation (author – F. Lips) is performed, which is not interesting and relevant for contemporary performers (due to the rapid increase of the general level of performing skills). It is stressed that these modern creative finds are transmitted only verbally. Today, only in the virtuoso version, that is, when the textual and technical complication of “Russian and Trеpak” by A. Rubinstein “wins” the right to concert life. The comparative characteristics of the interpretations of the work of O. Nurlanov, A. Shkvorov, O. Bohatyryov, V. Romanko, Yu. Kononov and V. Kharchenko are presented, in which attention is paid to the peculiarities of the use of specific gameplay techniques (combined tremolo, ricosheet, glissando), for with the help of which the primary source material is enriched and saturated. After analyzing the execution of the work by the above mentioned bayanists, we can distinguish two approaches to the sound implementation of the text: traditional (conservative), which is as close as possible to the original or printed translation, and innovative, which exists orally verbally and it is characterized by creative rethinking.

The Place of Russian Romance in the Composing Activity of M. I. Glinka, the Great Russian Composer and Melodist

The Place of Russian Romance in the Composing Activity of M. I. Glinka, the Great Russian Composer and Melodist