Soviet Composers Research Articles

Progressive Rock from the Union of Soviet Composers

This article focuses on the influence of Western progressive rock music on some innovative members of the Union of Soviet Composers, who were open to new trends and influences. These Soviet composers’ interest in progressive rock was not only intellectual, but also had serious practical implications. During the 1970s, several composers made attempts to create original works following various styles of prog rock. Occasionally, they incorporated elements of prog rock into their otherwise experimental compositions. One can see the influences of prog rock in the works of prominent composers such as A. Pärt, S. Gubaidulina, V. Martynov, V. Silvestrov, V. Artemiev, G. Kancheli, and A. Schnittke. After discussing the development of the prog rock tradition in the USSR and dwelling on the peculiarities of prog rock as a genre, I focus on three works created by Soviet composers under the influence of prog traditions: the 4th Symphony for orchestra and rhythm section by Latvian composer Imants Kalniņš, which follows the traditions of symphonic rock; an avant-garde rock opera titled “Flemish Legend” by Leningrader Romuald Grinblat, written to the lyrics by dissident bard Yulii Kim and heavily influenced by the twelve-tone system; and a suite of art-rock songs titled “On the Wave of My Memory” composed by pop composer David Tukhmanov, based on the poems of poets with a “decadent” reputation in the Soviet ideological context. All of these composers had to create within the Soviet ideological restrictions on modern and rock music, in particular, and all of them had to engage in their own trickster-like antics to produce and perform their works. Although they are little remembered today, these works stand as unexpected and singular achievements of Soviet composers during complex times.

Female chamber vocal cycle of the 1960s–1970s and the “new folk wave”. Part 1. In search of intonational authenticity

The subject of the study is the chamber and vocal work of Soviet composers of the 1960s–1970s, the works of the undisputed leaders of the young post-war generation of musicians from the “sixties”. The author of the article studies the neo-folklore searches and experiments of R. Shchedrin, B. Tishchenko, S. Slonimsky, V. Gavrilin, E. Denisov, which became the most important component of the significant artistic movement “new folklore wave”. During these years, there was a peculiar accumulation of outstanding sample compositions, striking in their originality and brightness, new recording techniques, and the authors’ extremely conscientious attitude towards original materials collected in conservatory folklore expeditions. At the turn of the 1960s, the chamber-vocal cycle took leading roles in the work of many Soviet composers and Russian music in general. Vocal compositions, with their inherent versatility, capable of flexible modifications, turned out to be a fertile area for the creative efforts of musicians of different generations. The article uses the following scientific research methods: comparative analytical, structural and functional, as well as cultural method. The author of the article uses literary-textual and musical-textual methods for research, and also relies on the fundamental provisions of general historical methodology, in particular, sociocultural, historical-chronological, and biographical. The main conclusion of the study is the idea that the chamber-vocal works of the “new folklore wave” have a “female face”, since most of them were written for performance by female voices. Folk melody and rhythm, a lively intonation environment, the direct emotionality of folklore became not only a kind of “counterweight” to sophisticated avant-garde techniques in the music of the second half of the twentieth century, but the most important component of the composer’s language and even thinking, and sometimes the main support of creative expression. The author for the first time deeply and fully explores the “female” vocal cycle of the 1960s–1970s, those works that are associated with the unique and powerful artistic movement “new folk wave,” a phenomenon that was at the forefront of the radical renewal of Russian music in the second half of the twentieth century.

ТЕНДЕНЦИИ МОДЕРНИЗМА В ПРОИЗВЕДЕНИЯХ ОТЕЧЕСТВЕННЫХ КОМПОЗИТОРОВ ДЛЯ КЛАССИЧЕСКОЙ ГИТАРЫ (60-е ГОДЫ XX ВЕКА)

The article examines the works for guitar written by Soviet composers in the 60s and analyses the degree of development of this problem in Russian musicology. It also studies the influences of Western European masters. The analysis of the “Suite of Mirrors” by A. Volkonsky is provided. It is revealed that an ensemble with guitar becomes the creative laboratory of the author, who does not master the instrument professionally enough. The composer makes experiments with serial technique and visual capabilities of instruments in the conditions of original composition. An interesting example is the use of the guitar in the orchestra in the second movement of Andrei Eshpai’s Symphony No. 2 “Praise to the Light”, where the melody from the author’s music for the film acquires a second life and a new interpretation. The experience of creating compositions for solo guitar by I. A. Bogdanov-Brodsky, S. A. Gubaidulina is considered. It is shown that the authors have different approach to the use of guitar timbre, which determines its influence on the formation of the thematicism of the work. Musicians’ understanding of the instrument’s properties evolves from the romantic interpretation to the search for a different interpretation of it. There is an increase in attention to the specifics of the guitar sound and textural features of the guitar. The composition for the instrument is enriched with new resources, such as dodecaphony, serial technique.

Sonorism in Compositions by Soviet Composers for Non-Register Button Accordion

The object of the research is the works of Soviet composers for the non-register bayan (non-register accordion). The subject of the research is the sonorous technique. The aim of the study is to examine the specific application of sonorism in the works of Soviet composers for the non-register bayan. The author identifies the types of sonorous soundings and the ways they are formed; considering their textural, dramatic, and depictive significance. The materials of the article can be used for the professional activities of bayanists and composers, and can be included in the courses. The methodological basis of the research includes a comprehensive approach, which incorporates scientific methods of induction and deduction, typology, comparative, structural, systemic, and historical approaches. The scientific novelty of the research lies in the fact that the sonorism in compositions for the non-register bayan is specifically explored for the first time. As a result of analyzing works of Soviet composers for the non-register bayan (original compositions, arrangements of folk melodies, adaptations), the author of the article concludes that sonorous technique is not frequently used in them, and the sonorous soundings employed (lines, spots, and stripes) are generally consist of a small number of sounds and brief. Nevertheless, by selecting the representative examples from the works of the renowned Soviet composers to illustrate, the author of the article demonstrates that sonorous soundings are employed in crucial dramatic moments, serve various depictive functions, and provide a background for the melodically leading voices. Identified applications of sonorous technique in works of Soviet composers for the non-register bayan represent a preparatory evolutionary stage leading to the "flourishing" of sonorism in music for the cassotto-сonverter instrument in the second half of the 20th century and the first half of the 21st century.

Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators

ABSTRACT Interventions in the field of music by the Soviet All-Union Communist Party have been read variously as personal interference by the ‘deranged despot’ Joseph Stalin, as the individuality of artists subsumed under totalitarian control, and as the mechanism by which socialism itself was constructed. The first two arguments are refuted by examining (1) the subjective roles of the Party and of both Party and non-Party members in the Union of Soviet Composers in these interventions and (2) the objective conditions present during the years of Stalin’s Party leadership that related to the process of the development of music policy. Soviet music policy was formulated through vigorous, sometimes vicious struggle. This contest between a communist social force, and reactionary, anticommunist forces, remained alive as a ‘background hum’. The formulation and implementation of Soviet music policy was a pedagogical process carried out by workers with leadership from the Party. Non-Party workers were involved through participation in their Union, which used its independence and power to interpretively implement Party decrees. The way Soviet musicians fought to create a diverse, equitable, and inclusive society in practice, beyond the realm of slogans, is worth understanding as a pedagogical model for today’s communists.

"“The International” is outdated for our people". Creation of the national anthem of the USSR (1943-1944)

The article examines the process of work of the state commission headed by K.E. Voroshilov and A.S. Shcherbakov on the creation of the text and musical accompaniment of the new National Anthem of the Union of Soviet Socialist Republics instead of the "International". "The source base of the article was made up of previously unknown materials of the Russian State Archive of Socio-Political History, the State Archive of the Russian Federation and the Archive of Russian Foreign Policy, as well as published documents and memoirs. Since the poems and music for the new anthem were selected on a competitive basis, dozens of Soviet poets and composers were able to participate in this competition. Stalin closely followed the work of the Voroshilov-Shcherbakov commission. He periodically gave instructions to the authors of the words of the anthem (S.M. Mikhalkov and G.A. Urekioyan), attended the auditions of its musical accompaniment. It is concluded that the work on the creation of a new anthem of the USSR in 1943-1944 was the implementation of an important state project that had no analogues in Soviet history. Keywords: "International", the National Anthem of the USSR, I.V. Stalin, K.E. Voroshilov, A.S. Shcherbakov, the Union of Soviet Writers of the USSR, the Committee for the Arts of the USSR, the Union of Soviet Composers of the USSR.

Yuliy Meitus's Musical Ballads on Robert Burns's Lyrics as part of Soviet Musical Burnsiana of the 1940–50s

The article examines Yuliy Meitus's musical ballads on Robert Burns's lyrics as part of Soviet musical Burnsiana of the 1940–50s. Up to the present time the names of such Soviet composers as Dmitry Shostakovich, Tikhon Khrennikov, Georgy Sviridov, Yuri Levitin and Edison Denisov embody the perception of the national poet of Scotland's heritage by Soviet composers of the middle of the twentieth century. However, the musical compositions of such prominent Soviet composers as Dmitry Kabalevsky, Lucian Prigozhin and Yuliy Meitus on Samuil Marshak's translations of Robert Burns dating back to the same period have been neglected. The contribution of Yuliy Meitus deserves special attention as he was neither Shostakovich's pupil nor close friend, unlike the majority of the composers mentioned, and his ballads: ‘A small ballad’ on ‘There was a Bonny Lass’, ‘ Macpherson before execution’ after ‘McPherson's Farewell’ and ‘Love’ on ‘A Red, Red Rose’ were composed in less then a month. The aim of the article is to attract the attention of musicologists to encourage analysis of these musical pieces in comparison with other interpretations of the same songs by Robert Burns, e.g. Dmitry Shostakovich's ‘Macpherson before execution’ (‘McPherson's Farewell’), Yuri Levitin's ‘Love’ (‘A Red, Red Rose’) and Edison's Denisov's ‘A small ballad’ (‘There was a Bonny Lass’).

Following the Footsteps of Russian Tuvian Folk Music Scientists

This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

Signs of a New Era: the "Female" Vocal Cycle during the Renewal of Russian Music of the 1960s and 1970s

The subject of the study is the "female" chamber vocal cycle in Russian music of the 1960s and 1970s, which, according to the author, became a special sign of the time of changes and renewal that came to the musical culture of the Soviet Union together with the Khrushchev "thaw". The article is devoted to the typology of the "female" vocal cycle, the appearance of a large number of works based on poems by A. Akhmatova and M. Tsvetaeva, music for children and youth, numerous vocal compositions in the spirit of the "new folklore wave", works dedicated to outstanding interpreters of vocal music by modern Soviet composers - Z. Dolukhanova, L. Davydova, G. Vishnevskaya, E. Obraztsova, E. Gorokhovskaya, N. Yureneva and others. The main conclusion of the study is the idea that there are several stable types of "female" chamber vocal cycles associated primarily with the modern poetic tradition, folk music, with the concert performance practice established in the country, with various vocal capabilities of singers, the width of their vocal range, flexibility, timbre characteristics etc. Russian chamber and vocal music is being studied for the first time in such a perspective and this direction must be recognized as fruitful. It is quite obvious that it was the "female" vocal cycle that became the most important sign of the time of the radical renewal of the national musical art in the 1960s and 1970s.

Following the Footsteps of Russian Tuvian Folk Music Scientists

This article aims to highlight the significance of song folklore recordings when documenting the scientific heritage of the first scientists and researchers of Tuvan musical folklore—A. N. Aksenov and E. V. Gippius—during the period 1927 to 1965. The methodological basis consists of the principles of historical continuity, objectivity, a holistic approach to the analysis of the history of the development of traditional Tuvan vocal music and the prospects for its development. The study of folk music is inextricably linked with the development of professional art. Currently, the works of visiting Soviet composers, melodically associated with Tuvan folklore, are practically not performed in the repertoire of concert programs of creative collectives of the city of Kyzyl. One of the main obstacles to their further application is the absence of these works in the curricula in music educational institutions. The issues of the prospects for the use of preserved sources in the digital archive of the Academy "Xөөmei" are analyzed. The question is raised about the need to create a single institutional repository of works and materials on the work of Russian specialists, musicologists, and scientists who studied the musical culture of Tuvinians in the Soviet period. Modern Tuvan musical folklore was largely based on the results of Aksenov's research, whose activities served as the main reference point for the study of Tuvan folk music and contributed to the flourishing of Tuvan musical art in Tuva.

Анализ влияния проектной деятельности на развитие патриотического воспитания студенческой молодежи

The author of the article points out the relevance of the patriotic theme, which is a priority in the educational work of Vavilov University. The problem of the influence of project activities on the development of patriotic education of student youth is considered by the example of the implementation of the cultural and educational project «Patriotic theme in the songs of Soviet composers». This method, using end–to-end technologies of the digital economy – virtual and augmented reality, has proved its effectiveness in the purposeful process of developing patriotic education of student youth.

Renewal of the domestic Symphonism of the 1960s in the works of young Leningrad composers

The subject of the study is the period of Russian symphonic music of the 1960s. A new generation of "sixties" composers has entered the Soviet music scene, imperiously declaring themselves with bright creative achievements, fresh and modern musical language. The epoch of the turning point dictated a new reality, required new artistic thinking, generated diverse creative ideas. The panorama of Russian music was quite colorful, many things in art appeared and disappeared very rapidly, stylistic pluralism, lost at the dawn of Soviet power, returned to the music scene. Special attention is paid to the works of composers of the Leningrad school — S. Slonimsky, Y. Falik, L. Prigozhin and V. Gavrilin. All of them opened new stylistic horizons and absorbed into their sound orbit the main trends of modern music, including the conquests of the Western avant-garde.  The scientific novelty of the work consists in the fact that the author examines the bright and original works of young Leningrad authors in the context of stylistic and linguistic innovations of the 1960s. The article analyzes the role and place of "Sixties" composers in the struggle for "new music". The main conclusion of the article is the idea that the period of musical renewal of the 1960s under consideration turned out to be extremely saturated with the most complex and diverse problems: ideological, general aesthetic, musical style. S. Slonimsky, Y. Falik, L. Prigozhin, V. Gavrilin became undisputed leaders in the renewal of Russian music of the second half of the twentieth century, and their works-"symbols" fully reflected the intense search of the post-war generation of Soviet composers.

Symphony No.1 by Boris Tishchenko: towards the “new shores” (on the revivalof Russian symphonism in the 1960s)

The subject of this research is the period of Soviet music in the 1960s. A new generation of the composers – the “Sixtiers” – came upon the stage, demonstrating remarkable artistic achievements, fresh and modern musical language. This article is dedicated to the symphonic work of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko. Particular attention is given to the Symphony No.1, which he created at the age of 22. Tishchenko burst into the Soviet musical space with creative fervor, and asserted himself as a tremendous and unique talent. His extemporaneous music pieces kept pace with the time, in unison with the global changes that took place in Russian symphonism. The scientific novelty lies in consideration of B. Tishchenko’s Symphony No.1 in context of stylistic and linguistic innovations of the 1960s. Detailed analysis is conducted on the role and place of Tishchenko — the youngest of the generation of “Sixtiers” – in the struggle for "new music". The main conclusion lies in the thought that Tishchenko was one of the leaders in the renewal of Russian music in the late XX century, and Symphony No.1 of his early period fully reflected the intense pursuits of the post-war generation of the Soviet composers and opened the path towards the "new shores" in symphonic music of that time.

РЕФЛЕКСИВНО-ДИАЛОГИЧЕСКИЙ ВЗГЛЯД НА МУЗЫКАЛЬНОЕ ИСКУССТВО СОВЕТСКОГО ПЕРИОДА 1930-1950-Х ГГ.

The reflexive-dialogical view allows us to rethink the heritage of Soviet art. The totalitarian policy of the USSR is paradoxical in its essence: anti-religious propaganda did not destroy religiosity, but used it to create new myths, manipulating the mass consciousness. Based on archetypes and mythologemes, the new doctrine creates the image of a «new man», ready for obedience, for submission, putting the interests of the state above his own. In manyrespects, the state ideology was closed on itself, when the opposition «we» (the Soviet Union) and «they» (the West, hostile to us) was clearly declared, the idea of the superiority of socialism over capitalism was introduced into the minds of people, the war was going on in the minds of people. With the aim of introducing the basic dogmas of political ideology into the sphere of musical art, introducing uniform creative principles of socialist realism, obligatory for all musicians: composers, performers, critics, etc., a new organization was created (Union of Soviet Composers, 1932). Collectivism, being a component of Soviet ideology, took on a massive scale and expressed itself in the phenomenon of «mass song». The main characteristics of the mass song genre are highlighted: artistry, simplicity, brightness of a memorable melody, verse-chorus form, accessibility to perception, replicability. The cantata-oratorio genre plays the role of the genre dominant of the «grand style», with its monumentality, the idea of praising the «father of nations» and glorifying the myth of the inviolability of the imperial power of the state. Composers and performers of the Soviet era continued the best domestic traditions, preserved those universal spiritual principles that political and ideological censorship could not influence, although to a certain extent they held back creative thought, wounded and sometimes humiliated a creative person. The depth of reflection on the problems of modern reality, the author's vision and individual view of the values and meanings of life gave rise to the originality of the artist's ethical reflection, regardless of ideological influence.

ИЗМЕНЕНИЯ В ДЕЯТЕЛЬНОСТИ СИМФОНИЧЕСКИХ ОРКЕСТРОВ РСФСР В 1948 Г. В СВЯЗИ С ПОСТАНОВЛЕНИЕМ ПОЛИТБЮРО ЦК ВКП(Б) "ОБ ОПЕРЕ “ВЕЛИКАЯ ДРУЖБА” В. МУРАДЕЛИ"

The article considers an influence of the resolution of the Politburo of the Central Committee of the CPSU(b) issued in February 1948 “On the opera ‘The Great Friendship’ by V. Muradeli” on the activities of symphony orchestras of the RSFSR. The author of the article notes that the historiography of the topic focuses more on the state and party authorities work for the execution and control of that resolution, on the processing of individual musical works and on the activities of outstanding Soviet composers. The issues of changes in personnel, repertoire, in the number of concerts, as well as changes in concert venues of symphony orchestras as part of the republican and regional philharmonic societies of the RSFSR in the second half of 1948 are practically not considered by researchers of the topic. The article provides information from the report documents, repertoire plans of the Moscow Regional Philharmonic, the Ossetian State Philharmonic, the Kabardian State Philharmonic, as well asthe Irkutsk Regional Philharmonic of 1948. The author of the article analyzes not only the activities of symphony orchestras, but also the specific steps of the regional and republican philharmonic societies to implement and control the execution of the resolution of the Politburo of the Central Committee of the CPSU(b) of February 10, 1948.

The Cultural Canon of Russian Music in the Series “The Lives of Wonderful People” (From the End of the 19th to the First Decades of the 21st Century)

The subject of the study is the modeling and transformation of the cultural canon in the field of academic music by the example of the series “The Lives of Wonderful People.” The main sources used were biographies of Russian and Soviet composers, published between 1892 and 2019. Analysis of these texts is carried out within the framework of receptive research; cultural-historical and historical-genetic methods, and the theory of cultural recycling are applied. Florenty Pavlenkov’s narratives about Russian composers have already become an important part of the formation of the musical picture of the world among the readership of the Russian Silver Age. These biographies (of Mikhail Glinka, Alexander Serov and Alexander Dargomyzhsky) account for almost a third of the total number of books about musicians in the series, whereas one single author – Sergei Bazunov – forms the narrative canon. In the Soviet period, with the change of the mass reader orientation and the presence of rigid ideological attitudes, a different cultural canon of selected composers was elaborated. In period of Stalin they were Mikhail Glinka, Modest Mussorgsky, Alexander Borodin, and Piotr Tchaikovsky. In the second half of the 20th century (before 1991), the following composers were added to the list: Dmitri Bortnyansky, Nikolai Rimsky-Korsakov, Sergei Rachmaninoff, and Sergei Prokofiev. Subsequent political changes have entailed the transformation and rebranding of the biographical canon of this series. In the post-Soviet era, there has been a rapid expansion of the circle of musical names: both composers of the beginning of the 20th century (Alexander Scriabin) and from the Soviet period (Isaak Dunaevsky, Dmitri Shostakovich, Tikhon Khrennikov, and Valery Gavrilin) have been included there. A recycling of biographical narratives of the Soviet era (for example, Tchaikovsky and Glinka) has been carried out. Along with the composers, an array of biographies of those artistic activists without whom Russian music of the Silver Age would not have taken place – philanthropists, producers and performers (for example, Sergei Diaghilev, Savva Mamontov, and Fyodor Chaliapin) – has also emerged. Keywords: biographies of composers, the series “The Lives of Wonderful People,” cultural recycling, the Soviet canon

Innovative trends in the symphonic works of Soviet composers of the 1960s and Symphony No.3 by B. Tishchenko. Part 2

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

Transnational Networks of Communist Musical Propaganda in the Spanish Civil War

A unique figure within Spanish music circles of the 1930s, the Berlin-born Jewish musicologist Otto Mayer-Serra was a central figure in a transnational network of communist musicians actively engaging with musical propaganda in support of the Republic during the Spanish civil war. Hanns Eisler, Ernst H. Meyer, Ernst Busch, Grigori Schneerson, Ferencz Szabó and several members of the Union of Soviet Composers belonged to this network. The article’s first section examines Mayer-Serra’s attempts to introduce in Spain a number of propagandistic musical practices that had been central in the communist splinter group of the German Workers’ Music Movement before 1933. In the second section I discuss Mayer-Serra’s intensive promotion in wartime Spain of the genre of overtly propagandistic ‘battle songs’ composed by members of this network. These practices and repertoires are also studied as part of the powerful movement of Catalan nationalism in 1930s Spain.

Novel trends in the symphonic work of Soviet composers of the 1960s and B. Tishchenko's Symphony No.3. Part 1

The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

РЕДАКТОРСЬКО-ВИДАВНИЧА ДІЯЛЬНІСТЬ ФЕДОРА НАДЕНЕНКА

Статтю присвячено розкриттю основних напрямів редакторсько-видавничої діяльності Федора Надененка. Окреслено широку палітру нотних видань в упорядкуванні й під редакцією митця: зібрань творів українських композиторів-класиків М. Лисенка (20 тт.), К. Стеценка (5 тт.), Я. Степового (3 тт.), фортепіанних поліфонічних творів Й.-С. Баха, хорових, вокальних, фортепіанних творів сучасних українських композиторів. Досліджено роль Ф. Надененка в розвитку редакторсько-видавничої справи в Україні та значення його редакторсько-видавничої діяльності для збереження, публікації й популяризації творчості українських композиторів.