From the History of Russian Music

Based on materials from the archive of Igor Stravinsky

Research Articles

Igor Stravinsky as the Reader and the Bibliophile (On the Composer’s Personal Library)

Tatiana B. Baranova-Monighetti

5-59

A Study in Bass Semitones: On the Sketches of Shaklovity’s Aria in Stravinsky’s Orchestration

Yaroslav I. Timofeev

60-91

From the History of Russian Music

Research Articles

To the Biography of the Composer Giovanni de Dominicis

Marina G. Dolgushina, Askold V. Smirnov

8-59

«He Leaves a Good Memory about Himself, without Offending Anyone’s Hearing»: St. Petersburg Piano Maker C. Wirth

Maxim V. Sergeev

18-33

On the Specifics of Private Music Schools in Pre-Revolutionary Russia

Konstantin А. Filimonov

34-53

Concertos for 8 Voices by Vasily Titov, and the Composer Vasily Gusev

Aleksandra V. Alexandrina, Anna V. Bulycheva

42-61

Sources for the Artistic Biography of Catterino Cavos

46-69

The Sacred Concerto by Vassily Pashkevich

Antonina V. Lebedeva-Emelina, Ekaterina Yu. Antonenko, Anna V. Bulycheva

46‒71

The Mechanical Musical Instruments in the Product Range of the Company Julius Heinrich Zimmermann

Denis G. Lomtev

48–65

The Riddle of Tchaikovsky’s Song Simple Words (op. 60 № 5)

Grigory A. Moiseev

48–67

The Story of One Mistake Made by the Publisher of the First “Collection of Russian Songs” Based on Poems by A. S. Pushkin

Marina G. Dolgushina

52-61

Unknown Letter from Igor Stravinsky to Jacques Handschin

Jeanna V. Kniazeva

54-65

New Information About M. P. Mussorgsky’s Choral Arrangements of Folk Songs

Anna S. Vinogradova, Antonina V. Lebedeva-Emelina

60-91

M. P. Mussorgsky’s “Shamil”. Study and Reconstruction Effort

Antonina V. Lebedeva-Emelina, Anna S. Vinogradova

62-101

Vasily Safonov and the August Patrons of the Moscow Conservatory

Grigory A. Moiseev

62-91

Variations on a Theme “Around Mozart” (Edison Denisov)

Inna A. Barsova

66-87

Vera Dulova’s Artistic Life in the 1930s: A Freelance Artist in the Epoch of Socialist Realism

Aleksandr A. Baranov

66–89

Tchaikovsky’s First Recital in 1871. An Attempt of Reconstruction of Musical and Historical Event

Alexander V. Komarov

68–127

The Second String Quartet by Borodin according to Manuscript Sources: New Facts and New Questions

Anna V. Bulycheva, Anastasiya P. Gribanova

70-91

Russian Cosmism in the Search of the Absolute: Parallels and Interconnections in Music, Poetry and Art in the 1910–20s

Vladimir P. Tchinaev

70-97

Materials for the Creative Biography of Leonid Polovinkin

Svetlana A. Pasynkova

72-111

The Moscow Version of the Opera “Marriages Samnites” by A.-E.-M. Grétry

Alexandra A. Safonova

78–107

Ella von Schultz-Adaiewsky’s Operas (On the History of Russian Music Theatre in the 1870s)

Denis G. Lomtev

80-97

The Problem of Authorship in Late Baroque Sacred Music (France — Russia)

Anna V. Bulycheva

82-93

“Might be Useful Later.” Student Exercises and Orchestrations by Tchaikovsky

Alexander V. Komarov

84-131

1945: The Music of Sergey Rachmaninoff is Heard in the USSR and the USA

Marina V. Mikheeva

92-103

On the history of the relationship between Baldassare Galuppi and Russian Imperial Court

Ekaterina Yu. Antonenko

92-104

Anton Rubinstein and the Gesellschaft der Musikfreunde in Wien: An Episode in the Life of an Artist

Natalia O. Vlasova

92-133

Tchaikovsky as the Author of Piano Arrangements of His Own Compositions

Alexander V. Komarov

94-125

Lyric Stanza’s by Sergei Prokofiev: Five Songs Without Words, Op. 35

Elena A. Nikolaeva

98-107

“To Turn Life Into Art!” Music in the Theatre of Nikolay Evreinov from 1900s to 1920s

Nina D. Sviridovskaya

98-127

Hectographed Singing Books of the Old Believers of the Pomorian Community: Features of the Composition and Edition of Hymnographic Texts

Tatiana G. Kazantseva

102-125

Soviet Сlassical Opera: Ideas and Realities

Ekaterina S. Vlasova

102-131

«I write the score absolutely anew», or unknown circumstances of one opera statement (About an opera “Yemelyan Pugachyov” of M. V. Koval in orchestration of D. R. Rogal-Levitskiy)

Marina M. Podguzova

105-109

Painting as Prototype of a Music Work: “Maud Lewis Smile” by Nikolai Korndorf

Evgenia I. Chigareva

108-117

Beethoven — Schnittke: “Polystylistic Field” of Violin Cadenza

Galina V. Grigoryeva

108-119

The Image of “Positively Beautiful Man” in the Libretto of “The Idiot” by M. Weinberg and A. Medvedev

Svetlana G. Voitkevich

112-125

Composer Ivan Pratsch and His Instrumental Music

Askold V. Smirnov, Pavel G. Serbin

116-149

On an Unknown Quotation in "Eugene Onegin" by Pyotr Tchaikovsky

Natalia O. Vlasova

126-141

Sextet for Harp and Wind Instruments by Boris Chaykovsky: an Essay on Style and Timbre Poetics

Yuri B. Abdokov

126-147

Composer, Pianist and Conductor David Geygner in the Far East: the Returned Name

Isabella I. Krylovskaya

126-149

Composer/Conductor Igor Miklashevsky and Artist/Inventor Grigory Gidoni: The Story of an Exlibris

Olga V. Kolganova

132-147

On the Phenomenon of the Lyrical Songs by Sergei Rachmaninoff

Anna L. Rakitina

134-147

Research Article

“The Scriabin Case”. The Poetics of Scriabin’s Piano Works and Their Symbolist Analogies

Vladimir P. Tchinaev

32-83

The Peculiarities of Yakov Zadykhin’s Libretto and its Musical Embodiment by Alexander Mosolov in the Opera “Dam”

Anastasia V. Kim

62-85

On the “Instrumentation” in Skomorokhs’ Fairy-Tales from the Collection of G. Naumenko

Margarita N. Timofeeva

80-99

P. I. Tchaikovsky’s Romances for Empress Maria Feodorovna: An Unknown Authorized Copy

Grigory A. Moiseev

106-145

Antonin Reicha and the Emperor Alexander I: a Rejected Musical Offering

Larissa V. Kirillina

128-153

From the History of 20th-Century Music

Research Articles

Seventy-eight Days and Nights in Prison: Composer Mieczyslaw Weinberg

Inna A. Barsova

90-104

From the History of Soviet Music: The Plenum of the Union of Soviet Composers of the USSR in 1966, Devoted to Dodecaphony

Ekaterina S. Vlasova

107-121