The article is devoted to the characteristic of poems of east poets (Japan, China, Korea) on which vocal cycles were written by the Russian composers of the XX century. It becomes perceptible that the appeal to east poetry became a tendency, which appeared during the era of the Silver age of the Russian culture. The reasons of the origin of this tendency were revealed. The names of I. Stravinsky, S. Vasilenko, M. Ippolitov-Ivanov, D. Shostakovich, G. Sviridov, S. Slonimsky, L. Grabovsky, A. Nemtin, A. Raskatov, D. Smirnov, V. Kikta, G. Belov, G. Firtich, I. Ostromogilsky, etc. are given as an example of its implication. The large-scale literary list includes poetic of Ancient Chinese poetry, Japanese ancient (medieval) poetry, classical Korean poetry, folklore verses. In the conclusion, typical lines of vocal cycles on these poetic works are shown. The center of this poetry is images of the nature, communication with it of inner world of the person. This poetry is distinguished by a reserved manner of the embodiment of rich inner world, thin psychological gradation. Other figurative constants – love collisions, philosophical reflections about meaning of life, loneliness, exile. They are embodied emotionally frostily, laconically by means of expression
The article tells about St. Petersburg distinctive
watercolor painter, Oleg I. Pomerantsev (1949-2012).
Master's career is inseparably linked with Russian
realism. The artist acts as a successor of fundamental
high artistic traditions of realistic art. Working in a
landscape genre, Pomerantsev managed to create more
than 500 paintings deep in a content and meaning. In his
spare time Master developed his own techniques of
watercolor art. The entire artist’s works were performed
under his impression. He received inspiration on
fishing trips, in woods and then at home master
reproduced what he saw from memory. Most of his
works are in private collections and galleries all around
the world. Romantic landscapes of Oleg I. Pomerantsev
affect by their transparency, complex color techniques
and inexpressible atmosphere, full of air and light.
Complex colour manners and inexpressible atmosphere
full of air and light. Graphic works by the artist,
executed in pencil on paper are very interesting too.
Sometimes master was fond of drawing in details, so
such works were not suitable for watercolors. In his
watercolor works Pomerantsev did only hardly visible
pencil drawing. The artist did not specialized in graphics
so he ruled out his pencil sketches as unsuitable, but the
wife of the artist has kept them. Watercolorist Oleg I.
Pomerantsev is unknown to Russian art-critics. In
view of that, the article was tasked to give for the first
time an art rating to the artist’s creation, to make an art
analysis of his works from the cycle "The Karelian
isthmus" dedicated to the settlement of Kirillovskoe in
Vyborg district. The study of creativity of Oleg
Pomerantsev by professional critics will allow to
expand qualitatively the history of watercolor painting
of Russia
A Karelian stage in the life of the great Russian artist,
Nicholas Roerich, is relatively well-known. However,
researchers have not been practically studied the
period of residence of the Roerich family in Vyborg. It
is known that N. Roerich was friends with the Finnish
artist A. Gallen-Kallela, who helped him to remain in
Finnish Vyborg in the period of revolutionary events
in Russia. From October 1918 to May 1919 the
Roerich family lived in Viborg in Ladaunkatu (now
Turgenev St.), №8. The painting «Autumn» (1919)
was written by the artist during the Vyborg’s period.
The painting was created in a fantastic manner which
was usual for the artist. Unfortunately, at the moment
nothing is known about his other works with views of
Vyborg. However, in the catalog of his works,
published in the USA in the 1920-es , under the name
of each picture is given information about where and
when it was created. Thus, under some of the works of
the artist is the mark: «Painted in Viborg». So, today
we can say about some works of master, which he
wrote in Vyborg. In the first place, there are famous
paintings of the artist: «Repentance», «Call of the bell.
Old Pskov», «Sons of the Heavens», «The heat of the
Earth», «Autumn – Vyborg», «Les Miserables
(Outcast)», «Treasure» and others. As well, in 1918 at
the time of staying the family in Vyborg a number of
sketches in "Vyborg Notebook" were made by his
son, Svetoslav Roerich, who was then 16 years old.
Probably, inexhaustible diligence of Roerich gave a
rise to other works with the theme of Vyborg, which
scientists do not know because this topic has not been
investigated
The article is devoted to history of creation of the piano Chinese concert – “Тhe elegance of spring” by Du Mingxin. On the basis of the biography of the composer reconstructed by the author of article on materials interviewed by him and to other sources, the history of emergence of the Concert is recreated. The short characteristic of contents and the theoretical analysis of the main means of expression and composition of all three parts is given. It is established that the first part is written in the form of sonata Allegro with a mirror reprise and a masterly large-scale cadence in it, the second part – an irregular three-part shape with an episode and the final – shining the rondeau sonata. In the conclusion, it is emphasized that Du Mingxin has created the work, national on contents and intonation, on the basis of the European classical canons. National it is embodied first of all through attitude, intonation, the rhythmic drawing. Among a big complex of conclusions, the paramount role of traditions of S. Rachmaninov is especially noted. In his piano concerts, expressive opportunities of east music, first of all mode and intonation, are embodied with unique art perfection. In Du Mingxin's Concert classical balance between a ratio of parties of the soloist and orchestra is reached. The invoice of party of the pianist is masterly, rich with lyrical melodies, the pair structure of orchestra is fully used. “Тhe elegance of spring” – a concert competition of equal creative sizes
The article is devoted to the panoramic historical review of works by N. Gogol's plots in the Russian music. The overall historical picture of development of the Gogol direction in musical theater and in other genres is created. In the XIXth century the history of process is traced from the moment of his formation – in 1840 - 1850, from A. Verstovsky, A. Serov, M. Glinka's unrealized plans, etc. The culmination falls on the last quarter of the century when there are P. Tchaikovsky, N. Rimsky-Korsakov, N. Lysenko's operas, unfinished operas by M. Mussorgsky. The conclusion is drawn that for the XIXth century the appeal to Gogol's poetic images, his fantasy, national images and household humour is characteristic. The XX century opens a new stage in development of a musical gogoleana. On the example of works of D. Shostakovich, Yu. Butsko, N. Kuznetsov, R. Shchedrin, A. Schnittke and young composers – S. Nesterova, A. Bespalova, V. Kruglik it is shown that the main lines of the Russian gogoleana of this time are connected with the appeal to Gogol's realism, his social accusatory satire, the embodiment of a subject of "the slight person". The author of article comes to a conclusion that works on Gogol's plots are a perspective and considerable direction in the Russian music. In the conclusion on the example of the oratorio " Hear, my God, my voice" V. Dovgan it is suggested that in the XXIst century the new turn in the musical gogoleena - the embodiment of philosophical aspects and sacral aspirations of the writer is planned
In the center of the article, there is the problem of
establishing a new socio-cultural phenomenon of
choral theatre. Because its borders were fluid and
blurred, the epicenter of the search is genre mixing,
which involved the drama theatre, academic and
folk choral performance, musical. Stage movement
is used particularly active in the works of folk
themes. One of the simple shapes that meet the
needs of visualization in music is performance in a
"media escort." Close border of theatrical and
choral genres with the actual choir is often
manifested at the level of the dual nature of the
performing life works: in a traditional concert
performance and in staging
The Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese