Music Journal of Northern Europe № 2(14), 2018

Contents

Irina V. Koposova, Vladislav D. Demin
Composing technique in string pieces of Arvo Pärt | 1-21

Maria V. Kundozerova
The term “rune” in the works of folklorists and ethnomusicologists: importance and usage perspectives | 22-31

Olga V. Kanina
About the style of the Sonata for bassoon (flute) and basso continuo f-moll TWV 41:f1 by G. F. Telemann | 32-45

Rimantas Sliužinskas
Russian folklore in Klaipeda (through the example of the artistic activities of the Russian folklore assoсiation “Vechiora” and the folklore project group “Veretionce”) | 46-62

Abstract: The peculiarities of composing techniques in pieces for string instruments created by Arvo Pärt are discussed in the article. Despite the fact that this author has many times talked about his impersonal posture to the category of tone in music, a collective view on his works can define his leaning towards some particular instrumental colors, including the sound of string instruments. Several opuses (“Cantus in Memory of Benjamin Britten”, “Trisagion”, “These words”) are analyzed in the article. The first one demonstrates the agreement of composing techniques of the past and the present, which are common for many instrumental opuses of Pärt. The lead among them belongs to tintinnabuli counterpoint principals, the technique of isorhythm, musical techniques of addition and substration. Two other pieces are based on the text of Orthodox prayers, it’s written in notes, but is not pronounced. As a consequence, patterns common for vocals opuses of the author are used in their organization. We can make a conclusion that the acquaintance with the string pieces can give a complex insight into the composing writing of Arvo Pärt.

Keywords: Arvo Pärt, tintinnabuli, isorhythm, addition, substration, “Cantus in Memory of Benjamin Britten”, “Trisagion”, “These words”

Abstract: The article covers the problem of defining and using the term "rune" in the works of domestic folklorists and ethnomusicologists. The author gives a brief excursion into the history of the appearance of this term, its usage in research papers and suggests a variant of its definition which takes into account the context of its application.

Keywords: rune, Kalevala metric, epic song, genres of Karelian folklore, Kalevala, ethnomusicology

Abstract: The article is devoted to the identification of individual style features in the Sonata for bassoon (flute) and basso continuo f-moll TWV 41:f1 G. F. Telemann, one of the prominent representatives of the late Baroque in the musical art of Germany.

Keywords: Germany, Baroque, chamber music, sonata for bassoon (flute) and basso continuo f-moll TWV 41:f1, G. F. Telemann

Abstract: By the end of the Second World War social changes took place in the city of Klaipėda which resulted in the decrease of the population of local bilingual (Lithuanian and German) residents – almost all of the survivors had moved to Germany. At the present time approximately 165.000 citizens of Klaipėda consist of Lithuanians (about 75–80%) living side-by-side with representatives of other ethnic and national groups (about 20–25%) invited and employed by the Soviet administration in the period from 1950 till 1970 for rebuilding the seaport of Klaipėda along with the shipbuilding and other urban industries. The main part of them (over 20.000 persons) consists of Russian-speaking Klaipėda citizens. Another segment of the population is constituted by the ethnic groups that have settled in Klaipėda in the last 20 years, after the state borders of independent Lithuania were opened to the rest of Western Europe. The Russian, Belorussian, German, Jewish, Ukrainian, Polish, Latvian, Tartar, Armenian, Azerbaijani, and other national minorities have become an integral part of the social and cultural life in contemporary Klaipėda. The Centre for National Minorities opened at Municipality of Klaipėda in 2012. In the light of these historical facts, the goal of the article is to discuss the possibilities of the Russian national society to maintain and promote their ethnic roots and traditions in the city at the present time. The example of Russian folklore groups “Veretionce” and “Vechiora” (head Marija Serebriakova) was taken to illustrate and to reflect this process.

Keywords: national minorities, Klaipeda, Russian folklore, “Veretionce”, “Vechior”, Marija Serebriakova