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
This article discusses various methods and techniques
for updating scientific information at trips on art
subjects. The pursuit of information consumption is a
common characteristic of contemporary society. There
is a limitless range of cultural and historical material
from which art excursions draw their themes. In the
meantime, if you measure the number of excursions
with their well-planned structure, the art tours will
certainly find themselves in a minority. On the
margins of the tour scripts, we can sometimes find
question marks left by customers. Art objects have
their criteria, the specificity and peculiarities. To
understand and to comprehend them on the scientifictheoretical
level is an urgent task of art historians and
critics themselves
Virtuoso of prints, Mikhail Matorin, is undeservedly
forgotten today both by ordinary spectators and by
professional art critics. Twenty-five years of fruitful
work of the artist have made a great contribution into
the development of the domestic drawing. The album
of linoleum prints called "Vyborg", created as a result
of his staying on the finnish front in june 1944, takes
up a special place in his creative work. Vyborg has
attracted Matorin by the originality of its northern
architectural landscape and the severe beauty of forms.
The town was empty; it was left by Finnish residents.
Bright sunny days of June with white nights even more
emphasized the epic expressiveness of architectural
ensembles of the city. Language of Matorin’s linocuts
is sharp, clear and emotional. Sonority of strokes and
rhythm of lines are in harmony with the noble colors.
Matorin’s prints were made on the basis of front-line
sketches. The color linocut printmaker used up to 12
boards, achieving the effect of real painting. Matorin’s
engravings are remarkable for its special harmony of
tones, terseness of colours. This article is aimed at the
introduction into the scientific usage of russian artcriticism
new unique artistic and history- cultural
material, revealing features of creativity and way of
life of the engraver, M.V.Matorin. The author for the
first time in Russian art-criticism examines and gives
an appreciation of the album of linoleum prints
"Vyborg" (1944), which is a valuable documentary
material
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 author of the article reveals the stylistic community of the ancient music by decoding byzantine modal octoechos
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