The article deals with the counterpoint notebooks by Sergey V. Evseev, one of the last pupils of Sergey I. Taneyev (November 1913 — January 1915). Evseev’s counterpoint notes allow us to reconstruct curriculum topic sequence and the specificity of the presentation of the of topics (from J. Fuchs’ system of discharges to fugue) with Taneyev’s discoveries in the field of the complex counterpoint. Much attention is also paid to the individual features of Evseev’s text, such as 1) additional notes on counterpoint theory, which, unlike the student notes, are in the new (post-revolutionary) orthography; 2) alternating exercises with unnamed copies of polyphonic samples; 3) experiments in “Russification” of chorales from Bach’s cantatas, in which Evseev’s interest in Russian polyphony peculiarly manifested.
The author expresses gratitude to Marina S. Evseeva, granddaughter of Sergey V. Evseev, — for her kindly furnishing the electronic copies of Sergey Evseev’s seven polyphonic music-books; to Olga M. and Yury V. Vasil’evs — members of staff of Tchaikovsky State House-Museum in Klin, and to Sergey A. Konaev — member of staff of the Music Library Archive at the Bolshoi Theatre — for their expert opinion concerning the attribution of handwritings
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