ISSN 2308-1333
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Issue 2026 №1 (53)
Amrakhova Anna A., Zenkin Konstantin V., Savenko Svetlana I., Chigareva Evgenia I.
Metadiscourse of Russian Musical Culture: Issue 10. A Letter by S. Gubaidulina to A. Vustin dated March 30, 1978
Karaseva Marina V.
The Semantic Geometry of Melodic Lines in “The Umbrellas of Cherbourg”: From Roots to Shoots (Multimedia masterclass on developing intonational sensitivity.)
Amrakhova Anna A.
Symphonism: What has become of it in the 21st century?
Veksler Yulia S.
“The last flower from the hothouse of post-romanticism.” Alban Berg in the mirror of Pierre Boulez’s musical and aesthetic views
Sokolova Larisa P., Sadovskaya Daria S.
S. M. Lyapunov’s “Hashish”: A Unique Key to the Composer’s Symphonic Work
Shmeleva Polina P.
The forms of the scherzo in the symphonies of Emilie Mayer: from the classical models to the romantic ones
Shulga Angelina V.
Principles of Binary and Ternary Form in the Structure of Italian Keyboard Sonatas of the Mid‑Eighteenth Century
Hermann of Reichenau. Music (Introduction and commented translation by J. V. Moskva) P. 2
Abstract
The article is a continuation of the publication of the Latin treatise “Musica” by the medieval scientist, poet and composer Hermann from Reichenau (Hermannus Contractus, 1013– 1054) in a parallel translation into Russian, performed for the first time. The published fragment contains the doctrine of the species of intervals, as well as the doctrine of the eight Modes. The sequel will follow in the next issues of the journal.
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Wind instruments of the pre-romantic orchestra (based on Othon Vandenbroeck’s “The main treatise on all wind instruments for composers”)
Abstract
The article analyzes the organological aspects of the late classical orchestra. The author also provides brief descriptions of the structural variations of wind instruments of this period. Among the many wind instrument models that emerged in the late 18th century, the treatise describes those that remained in musical practice throughout the first quarter of the 19th century.
Keywords
Othon Vanderbroeck, 18th -century orchestra, brass instruments, orchestration history
For citation
Opera and Revolution: «Ruslan and Lyudmila» at the Mariinsky Theatre in November 1917
Abstract
The article is devoted to the play «Ruslan and Lyudmila», shown on the stage of the Mariinsky Theatre on November 27, 1917. The performance was timed to coincide with the 75th anniversary of the first production and was distinguished by its outstanding artistic significance. However, in the late autumn of 1917, Glinka's fairy-tale opera became deeply involved in the political context. The revolutionary era powerfully asserted itself in the auditorium, on stage, and behind the scenes.
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