The Ballet “Little Zaches Сalled Cinnabar” by N. N. Karetnikov in the Context of European Cultural Tradition

Abstract

The article elaborates on the content and score of the ballet “Little Zaches Сalled Cinnabar” by Moscow composer Nikolai N. Karetnikov. On the basis of the notes (the published clavier and two copyrighted manuscripts of the score, as well as the composer’s epistolary heritage) the peculiarities of the content of the ballet, which embodies the motives of the old carnival tradition, are revealed. The concept of ballet music included the particularities of artistic thinking, formed under the influence of the non‑classical direction of European culture, which also included creative systems such as G. Mahler’s symphonic concept, F. M. Dostoevsky’s polyphonic novel and A. Schoenberg’s twelve‑tone technique. Also, the study reveals the peculiarities of the implementation of carnival motifs in the film “Bad Anecdote” by A. Alov and V. Naumov, the musical basis of which became fragments of the score of the ballet “Little Zaches”.

References

1. Asaf’ev, B. (1971). Muzykal’naya forma kak protsess [Musical Form as a Process]: in 2 Books. Leningrad, Muzyka, Leningrad Division. (in Russian).

2. Barsova, I. A. (2010). Simfonii Gustava Mahlera [Symphonies by Gustav Mahler], 2nd ed. St. Petersburg, N. I. Novikov Publ. (in Russian).

3. Bakhtin, M. M. (2002). Problemy tvorchestva Dostoevskogo [Problems of Dostoevsky’s Poetics]. Moscow, AUGSBURG. (in Russian).

4. Bakhtin, M. M. (1990). Tvorchestvo François Rabelais i narodnaya kul’tura Srednevekov’ya i Renessansa [François Rabelais’ Oeuvre and Popular Culture in the Middle Ages and the Renaissance]. Moscow, Khudozhestvennaya literatura. (in Russian).

5. Belza, I. (1983). Skazochnyy mir Hoffmana [Hoffmann’s Fairytale World]. Sovetskiy balet [Soviet Ballet], 1983, No. 5, 24–6. (in Russian).

6. Val’kova, V. B. (2019). Mikrotematizm: metamorfozy i nauchnye resursy muzykoved‑ cheskogo ponyatiya [Microthematism: Metamorphoses and Scientific Resources of the Musicological Concept]. Muzykal’naya akademiya [Musical Academy], 2019, No. 3, 198–217. (in Russian).

7. Golubeva, A. (1990). Osvobozhdenie ot dvoemysliya: Interv’yu s N. Karetnikovym [The Release From Doublethink: Interview with N. Karetnikov]. Ogonek [Ogoniok], 1990, No. 1, 15–17. (in Russian).

8. Hoffman, E. T. A. (2008). Kroshka Tsakhes po prozvaniyu Tsinnober [Klein Zaches genannt Zinnober], translated by A. Morozov. Moscow, EKSMO. (in Russian).

9. Grigor’eva, G. V. (1985). Stilevye problemy russkoy sovetskoy muzyki vtoroy poloviny XX veka. 50–80-e gody [Style Issues of Russian Soviet Music in the Second Half of the 20th Century. 50–80s]. Moscow, Sovetskiy kompozitor. (in Russian).

10. _____. (2006). Gustav Mahler. Pis’ma. 1875–1911 [Gustav Mahler. Letters. 1875–1911], edited and commented by I. A. Barsova and D. R. Petrov, translated by S. A. Osherov, D. R. Petrov, S. E. Shlapoberskaya. St. Petersburg, N. I. Novikov Publ. (in Russian).

11. Dostoevskiy, F. M. (1865). Skvernyy anekdot [A Nasty Story]. In Polnoe sobranie sochineniy F. M. Dostoevskogo [The Complete Works of Dostoevsky], Vol. II, 174–92. St. Petersburg, Tipografiya F. Stellovskogo. (in Russian).

12. Karetnikov, N. N. (1988). Kroshka Tsakhes, po prozvaniyu Tsinnober [Klein Zaches genannt Zinnober]: Ballet in 2 Acts. Piano Score. Moscow, Sovetskiy kompozitor. (in Russian).

13. Karetnikov, N. N. (1990). Temy s variatsiyami: vospominaniya [Themes and Variations: Memories]. Moscow, Kinotsentr. (in Russian).

14. Karetnikov, N. N. (2011). Tema s variatsiyami: rasskazy [Theme and Variations: Stories]. Moscow, Astrel’ 6 CORPUS. (in Russian).

15. Lutskaya, E. (1983). I fee prishlos’ raskayat’sya [And the Fairy Had to Repent]. Teatral’naya zhizn’ [The Stage], 1983, № 12. (in Russian).

16. Protopopov, V. V. (1967). Variatsionnye protsessy v muzykal’noy forme [Variation Processes in Musical Form]. Moscow, Muzyka. (in Russian).

17. Rytsareva, M. (1984). S neprimirimost’yu k obyvatelyu [With Irreconcilability to the Layman]. Sovetskaya muzyka [Soviet Music], 1984, No. 10, 45–7. (in Russian).

18. Savenko, S. (1999). Assotsiatsiya sovremennoy muzyki: vtoroy opyt na russkoy pochve [Association for Contemporary Music: The Second Attempt in Russia]. In Muzyka XX veka. Moskovskiy forum [20th Century Music. Moscow Forum], 45–51. Moscow, Moscow Conservatory Publ. (in Russian).

19. Selitskiy, Ya. (2011). Nikolay Karetnikov. Vybor sud’by [Nikolay Karetnikov. Making Choice of Lot]. Moscow, Kompozitor. 336 p. (in Russian).

20. Sokolov, A. (1992). Muzykal’naya kompozitsiya XX veka: dialektika tvorchestva [Musical Composition in 20th Century: Dialectic of Creativity]. Moscow, Muzyka. (in Russian).

21. Tarakanov, M. (1990). Apologiya nepriznaniya [Apology for Non‑Recognition]. Sovetskaya muzyka [Soviet Music], 1990, No. 7, 6–13. (in Russian).

22. _____. (2005). Teoriya sovremennoy kompozitsii [The Theory of Contemporary Composition], edited by V. S. Tsenova. Moscow, Muzyka. (in Russian).

23. Til’man, I. (1958). O dodekafonnom metode kompozitsii [On the Twelve‑Note Composition]. Sovetskaya muzyka [Soviet Music], 1958, No. 11, 119–26. (in Russian).

24. Fomin, V. (1992). Pol’ka [Polka]. Moscow, Film Art Research Institute. (in Russian).

25. Schnittke, A. (1990). Polistilisticheskie tendentsii v sovremennoy muzyke [Polystilistic Trends in Contemporary Music]. In V. N. Kholopova, E. I. Chigareva. Alfred Schnittke: Ocherk zhizni i tvorchestva [Alfred Schnittke: An Essay on His Life and Work], 327–31. Moscow, Sovetskiy kompozitor. (in Russian).

26. Schnittke, A. (2003) Klangfarbenmelodie — « melodiya tembrov» [Klangfarbenmelodie — “Melody of Timbres”]. In Orkestr. Instrumenty. Partitura [Orchestra. Instruments. Score], Issue 1, 185–8. Moscow, Moscow Conservatory Publ. (in Russian).

27. _____. (1970). Die Bosheiten des Klein Zack mit Phantasie und Humor vertanzt. Hannoversche Allgemeine Zeitung, 3 März 1970, 5.

28. Keil, W. (2015). Die Aktualität E. T. A. Hoffmanns in Musik und Tanz des 20. und 21. Jh.s. In E. T. A. Hoffmann-Handbuch: Leben — Werk — Wirkung, herausgegeben von C. Lubkoll, H. Neumeyer, 424. Stuttgart, J. B. Metzler.

29. Krebs, D. (1997). Gustav Mahlers Erste Symphonie. Form und Gehalt. München und Salzburg, Katzbichler.

30. Lenk, R. (1970) Getanztes Märchen. E. T. A. Hoffmanns Klein‑Zaches als Ballett in Hannover. Das Ostpreußenblatt, 14 März 1970, 5.