From the History of European Music

Anniversaries of the Year: Claudio Monteverdi (1567–1643)

Research Article

Notes on the History of the First Russian Performance of Monteverdi’s “Orfeo”

Larissa V. Kirillina

8-51

Il Divino Cipriano vs. Il Pitagora Nuovo and Other “Chimeras” of Seconda Pratica

Nadya S. Ighnatieva, Roman A. Nasonov

8-65

From the History of European Music

Research Articles

Beethoven: The Mysterious Wanderings of 1787 (New Facts and Hypotheses)

Larissa V. Kirillina

16-45

Eternity in Time: John Tavener’s “Apocalypse” as an Attempt of Musical Iconography

Eleonora Yu. Orobinskaya

46-61

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

Sergey N. Lebedev

24-39

The Ancient Chromatic Genus (chrōma) — from Antiquity to the Present Day

Margarita A. Grigoryeva

28-45

J. S. Bach’s Motet BWV 1083 as a Parody of Stabat Mater by G. B. Pergolesi

Anna S. Pastushkova

34-65

Madrigale Concertato: The New Poetic Forms in the Music of the Early Baroque Era Composers in the North Italia

Ksenia A. Nogovitsyna

36-73

The 18th Century Venetian motet: poetics of forgotten genre

Ekaterina Yu. Antonenko

40-55

The Study of Modal Variability in the Treatise “Lucidarium” by Marchetto of Padua

Natalya S. Storchak

46-59

Мουσικός — musicus — musician. An Essay about the Music Terminology of Boethius

Sergey N. Lebedev

52-65

Viennese Mid-17th Century Solo Violin Sonatas in the Genre’s History

Ekaterina M. Nazarova

60-79

«Antique» Musical Instruments in the Intermedi for the Wedding of Cosimo I de’ Medici and Eleonora da Toledo (1539)

Julia A. Litvinova

66-102

Gluck and Handel: The Ways of Transmission of the Tradition in the 18th Century Music

Larissa V. Kirillina

66-103

Order of the Golden Fleece: Music and Ceremonial (1431–1559)

Lyudmila I. Sundukova

66-77

The Educational Methodology Titles From the Publishing House Julius Heinrich Zimmermann: Commercial Interests in the Service of Music Education

Denis G. Lomtev

66-92

Johann Heinrich Schmelzer’s Sonatae Unarum Fidium: Features of the Style and Performance Interpretation

Ekaterina M. Nazarova

74-99

Magnificats by J. S. Bach and by His Sons with Reference to Traditions of German Musical and Rhetorical Culture

Anastasiya A. Maltseva

80-93

G. M. Artusi’s Attitude in the Controversy on Seconda Pratica: Values and Interests

Nadya S. Ighnatieva, Roman A. Nasonov

84-107

The Dispute about French Recitatives (from the Letters of G. Ph. Telemann and C. H. Graun)

Sergey N. Nikiforov

88-111

“Our chief joint work”. Notes on Richard Strauss’ and Hugo von Hofmannsthal’s “Die Frau ohne Schatten” Creation

Natalia O. Vlasova

92-113

Theology of Bach’s Passions through Herzliebster Jesu by J. Heermann: Lutheran Theosis?

Roman A. Nasonov

94-105

Manuscripts and Prints of Musical Works in the Files of the Secret Civil Cabinet of the Prussian King (1841–1874)

Denis G. Lomtev

94-109

Gregorian Sources in the Context of Anton Bruckner’s Musical Style. Small Church Vocal-Choral Works

Diana E. Lokotyanova

100-115

Kapsperger and his Madrigal Intabulations for Chitarrone: an Old Musical Genre and its New Instrumental Lifestyle

Dimitri Yu. Goldobine

103-125

Invention Ideas and Solutions in the Notebooks of the Piano Maker Karl Wirth

Denis G. Lomtev

104-119

“St. Mark’s Passion” from the Repertoire of J. S. Bach: the Sources, the Versions, Attribution

Anna K. Filippova

106-139

'Clavierübung': The Tradition and Its History

Alla I. Yankus, Irina D. Gorokhova

108-127

Three Images of Ockeghem (a historiographic essay)

Mikhail V. Lopatin

110-121

Jacques Handschin in Search of his Science. Letters to Karl Krumbacher

Jeanna V. Kniazeva

110-123

The History of Russian Publications by Alban Berg

Yuliya S. Veksler

112-123

K. Stockhausen’s “Zodiac. 12 Melodies for Star Signs”: To an Aesthetics and the Theory of Formula Composition, the Polysemantic Form

Nadezhda A. Petruseva

116-133

Pelléas and Mélisande by M. Maeterlinck in the Interpretation of Gabriel Fauré

Nataliya P. Ryzhkova

116-159

Thomas Tallis: Numeric Secret of Name

Vladimir M. Barsky

118-131

To the Question of the Use of the Term “Grand Opéra” at French Editions of 19th Century

Svetlana A. Petukhova

120-135

Amor Divinus: the union of the Celestial and the Earthly in a “madrigal” mass

Tatyana A. Gordon

122-132

«Erminia» Guido Casoni — Biagio Marini: Renaissance Theatre on the Baroque Stage

Ksenia A. Nogovitsyna

126-163

Andrew Lloyd-Webber’s “Requiem” in the Light of Historical Tendencies of the Genre Development

Elena Yu. Andruschenko

128-139

“The Poems of Ossian” in European Art: On the Origins of Danish Romanticism

Dmitry V. Belyansky

128-161

“Rhythmica oratio” and its paraphrases in the Lutheran singing-tradition

133-142

Research Article

Johannes Lippius’ Harmonic Theory

Ilia K. Kulikov

56-67

Restless Cosmopolitan or Classic of North German busic? Kaspar Forster the Younger (1616-1673) in the Mirror of Historical Evidence and Modern Research

Roman A. Nasonov, Vitaly A. Zhdanov

62-91

Alban Berg and Richard Strauss: Paradoxes of Reception

Yuliya S. Veksler

74-91

Scores of Gustav Mahler in the Archival Heritage of Alban Berg

Yuliya S. Veksler

90–123

The Goldberg Variations by J. S. Bach. Essay III. On the History of Interpretations

Alexander Yu. Velikovskiy

106-127

Heart’s Mysticism in "Fallax mundus" of Dietrich Buxtehude

112-123

Joseph Haydn’s Early Symphonies with Concertante Instruments

Anna K. Iglitskaya (Demidova)

128-167

Artistic Revolutions in the History of Music Culture: the Author’s Interpretation of New Phenomena

Sayida Z. Iskhakova

132-155

History of Music Through Documents

Annotated Scholarly Editions

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

94-135

Organology

Research Article

The Traverso — on the History of the Instrument

128-137