ABSTRACTS

Inna Barsova, Daniil Petrov
Regarding the History of the Production of Anton Rubinstein’s «The Demon» at the Vienna Court Opera. The Brief Correspondence of Mahler and the Mariinsky Theater

This article, which includes publications of hitherto unknown documents from the archives of St. Petersburg and Vienna, describes a characteristic episode from the activities of Gustav Mahler as the head of the Court opera in Vienna. It has to do with the preparation in the fall of 1899 of the Viennese premiere of the opera «The Demon» by Anton Rubinstein, in connection with which Mahler was require to study the score thoroughly. His letter to the Direction of the Imperial Theaters in St. Petersburg sent to the director of the Russian Opera Osip (Joseph) Palechek addresses the problem of the realization of one incoherent fragment (the «tam-tam» on the stage, utilized in the beginning of Act 3). The cited documents shed light on the practice of production that was current at the end of the 19th century. For the elucidation of the essence of the question posed by Mahler information is cited about the history of the text to Rubinstein’s opera.

Keywords: Mahler, Vienna, Anton Rubinstein, «The Demon», tam-tam, score

Sergey Lebedev
On Approach and Style of Early Boethius: A Study of His Treatises on Music and Arithmetic

This study investigates an adaptation of Greek music theory in quadrivial works of Boethius, i. e. his Fundamentals of Music and Fundamentals of Arithmetic (written between 500 and 510). Systematic observation of Boethian terms and concepts, on the one hand, reveals shortcomings of his early compilations, and, on the other hand, specifies his style, interpreting techniques and scientific approach in general.

Keywords: Boethius, history of Western music theory, classical languages, terminology of music

Ekaterina Antonenko
The 18th Century Venetian motet: poetics of forgotten genre

Solo motet of the 18th century, which revival we are witnessing now, was an indispensable part of festive church services at the Venetian Ospedali. In spite of its remarkable popularity, the genre was sharply criticized by its contemporaries and later by musicologists. To verify the fairness of this criticism, we examined the relationship of this genre with Venetian performing practice and considered the ambiguity of the lyrics, while illustrating it by the analysis of the motet «A rupe alpestri ad vallem» by B. Galuppi. Venetian solo motet of the 18th century is discussed in the cultural context of the epoch.

Keywords: solo motet, Venetian music, performance practice, rhetoric, Galuppi

Alexandra Maximova
Musical Genres of Fabrizio Caroso’s Treatise «Nobiltà di Dame»

The dance music of the Caroso’s book is described. An extract from the translation of the treatise into Russian is given for the first time.

Keywords: Caroso, Negri, «Nobilità di dame», choreography, dance music, Italian Renaissance

Ekaterina Dryazzhina
«Versuch einer Anweisung die Flöte traversiere zu spielen» and its Author

This is the first publication in the series of extracts from the J. J. Quantz’s treatise «Versuch einer Anweisung die Flöte traversiere zu spielen» translated into Russian by Ekaterina Dryazzhina; in most cases, the extracts are related to performance practice. The introductory article gives the necessary biographic information about Quantz, describes the structure and the content of the treatise, its historical and aesthetic context, the practical issues that arise when using this treatise as a manual on flute playing. Comments on main issues discussing in the Introduction and in the first three captures of «Versuch…» are also given.

Keywords: Quantz, «Versuch einer Anweisung die Flöte traversiere zu spielen», flûte traversière,
18th century music theory, musical tuning, comma of Telemann, fingering

Charles Burney
An Account of Musical Performances in Westminster Abbey, and the Pan­theon, May 26th, 27th, 29th, and June 3rd and 5th, 1784, in Commemoration of Handel
(Russian translation and comments by Anna Loseva)

This paper concludes the publication of the first Russian translation of An Account of Musical Performances in Westminster Abbey, and the Pantheon, May 26th, 27th, 29th, and June 3rd and 5th, 1784, in Commemoration of Handel, written by famous English music historian Charles Burney (1726–1814), who attended that memorable festival. The performances were held under the patronage of King George III and drew wide public response. That’s why the Account… is such a valuable document, which gives a vivid idea of the importance of music in the British social life of that epoch and the esteem for Handel’s name all over the country. Being a true erudite aware of all significant musical events, Burney in his youth was also lucky to be personally acquainted with Handel. So his discourse of Handel’s works selected for the festival and his judgment of the musicians’ skills, which he compares to those of the first performers, is of an obvious interest. In the present issue of the journal being published the closing part of the Account… describing the fourth and the fifth days of the Commemoration and also the Appendix and the translator’s afterword.

Keywords: Handel, Burney, Commemoration of Handel, Westminster Abbey, «Messiah»,
Fund for support of decayed musicians

Konstantin Rychkov
«Star Wars» by G. Lucas and J. Williams: is Gesamtkunstwerk
coming back?

There are many similarities between the film epic «Star Wars» (by George Lucas and John Williams) and «Der Ring des Nibelungen» by Richard Wagner: in both cases authors exploit mythological stories, use leitmotif technique and operate with symphony orchestra. In this article are considered reasons why in the Hollywood appeared films with symphonic scores and are analyzed role and features of the music in such sagas. There is among sheet music examples a collection of most important leitmotifs of hexalogy.

Keywords: John Williams, George Lucas, Richard Wagner, film music, USA, Hollywood, Gesamtkunstwerk, Star Wars, Der Ring des Nibelungen, soundtrack, leitmotif, mythology

Elena Rovenko
Claude Debussy’s and Odilon Redon’s Art in the Context of Henri Bergson’s Philosophy of Time

In this paper the author attempts to compare the special model of the world arising on pages of H. Bergson’s texts, with models of C. Debussy’s and O. Redon’s art worlds. These masters have most brightly embodied the new mental features in the French music and the fine arts at the turn of the 19th and the 20th centuries, as Bergson — in the French philosophy of the same period. Basic concepts of Bergson’s philosophy — «the vital impulse» (élan vital) and «pure duration» (la durée) give a new key to understanding of properties of Debussy’s and Redon’s art and allow to conceive in a new fashion a category of art time, and also form and material parameters in creativity of the named masters.

Keywords: H. Bergson, C. Debussy, O. Redon, material development, art time,
processes of morphogenesis, elements, the nature