ISSN 2308-1333
New Issue
Issue 2025 №4 (52)
Berezin Valerij V.
Wind instruments of the pre-romantic orchestra (based on Othon Vandenbroeck’s “The main treatise on all wind instruments for composers”)
Yunusova Violetta N.
Acoustic and Visual-Acoustic Text in the Music of Oral Tradition and the Work of Asian Composers: Notes on the Research
Skvortsova Irina A.
Interpretation and “Open Form”: Similarities and Differences (using Tchaikovsky's symphonies as an example). On the 185th anniversary of the composer's birth
Moskva Julia V.
Hermann of Reichenau. Music (Introduction and commented translation by J. V. Moskva) P. 2
Plotnikova Natalia Yu.
Imitative forms in the sacred music of P. I. Tchaikovsky
Agaronian Kristina R.
Experimentalism in James Tenney's musical theory: form and its perception
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.
Key words
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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