Music Journal of Northern Europe № 2(34), 2023

 

Contents

 

Materials of the International Scientific Conference “Professional music of Karelia: history, heritage, interpretation” (Petrozavodsk State Glazunov Conservatoire, 21th October 2022)

 

Svetlana Y. Nikolaeva
TAMARA V. KRASNOPOLSKAYA: SPECIALIST IN FOLKLORE, FINNO-UGRIC SCHOLAR | 1-12

 

Aleksandra Y. Alekseeva
CHORAL COMPOSITIONS BY E. N. PATLAENKO IN THE EARLY 1990s: INTERPRETATION OF THE POETIC PRIMARY SOURCE | 13-27

 

Vladimir I. Stachinsky
ABOUT THE STYLE OF THE FIRST SYMPHONY BY ALEXANDER BELOBORODOV | 28-37

 

Tatyana V. Kraskovskaja
INCIDENTAL CANTATA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA | 38-46

 

Ekaterina G. Okuneva
CLUSTER TECHNIQUE – FIELD TECHNIQUE – MICROPOLYPHONY: GYÖRGY LIGETI’S COMPOSITIONAL INNOVATIONS IN THEORETICAL UNDERSTANDING OF ERKKI SALMENHAARA | 47-64

 

Irina V. Koposova
MELODIC-POLYPHONIC CLUSTER TECHNIQUE BY HENRIK NORDGREN: IN DIALOGUE WITH LIGETI | 65-82

 

Natalia P. Hilko
THE THEORY OF CONTINUAL EVOLUTIONISM BY V.V. ZADERATSKY | 83-93

 

Andrey V. Dikoev
ACADEMIC MUSIC FOR BAYAN (ACCORDION) BY COMPOSERS OF KARELIA | 94-120

 

Maria V. Kozak
EPITEXT AS A WAY OF PROMOTING IDEAS AND VIEWS OF THE COMPOSER (NDM PRINCIPLE OF RELATIVE MUSIC BY AVENIR H. DE MONFRED) | 121-139

 

Larisa V. Brazhnik
PAST, PRESENT, FUTURE OF UDMURT MUSICAL FOLKLORISTICS (REVIEW OF I. M. NURIEVA’S MONOGRAPH UDMURT MUSICAL FOLKLORISTICS. PAGES OF HISTORY, Izhevsk, 2021) | 140-144

 

 

Svetlana Y. Nikolaeva TAMARA V. KRASNOPOLSKAYA: SPECIALIST IN FOLKLORE, FINNO-UGRIC SCHOLAR | 1-12

 

Abstract: In the article, the author examines the multifaceted activities of one of the largest Finno-Ugric scholars of Russia – T. V. Krasnopolskaya, who stood at the origins of the creation of the ethnomusicological school of Karelia. The history of collecting folklore and ethnographic materials on the territory of Karelia, which was initiated and organized by Krasnopolskaya, is covered in detail. The leading aspects of her scientific work, which laid the foundation for further study of the musical and folklore traditions of Karelia and the Northwest of Russia, are highlighted.

 

Keywords: Finno-Ugric studies, collecting folklore and ethnographic materials, collections of folk songs, Karelian lamentations, interethnic relations, interdisciplinary research

 

 

Aleksandra Y. Alekseeva CHORAL COMPOSITIONS BY E. N. PATLAENKO IN THE EARLY 1990s: INTERPRETATION OF THE POETIC PRIMARY SOURCE | 13-27

 

Abstract: The article discusses two choral opuses – Concerto No. 1 and ode “Lord” for a cappella choir – created in the early 1990s by the major Karelian author Eduard Nikolaevich Patlaenko. The composer's works are analyzed from the point of view of working with selected poetic texts, forming and choral writing. The author of the article concludes with the stylistic features common to the selected compositions as well as to Patlaenko's choral creativity in general.

 

Keywords: Eduard Patlaenko, ode “Lord”, Concerto No. 1 for a cappella choir, continual form, poem, Alexander Pushkin, Arthur Rimbaud, Gavrila Derzhavin

 

 

Vladimir I. Stachinsky ABOUT THE STYLE OF THE FIRST SYMPHONY BY ALEXANDER BELOBORODOV | 28-37

 

Abstract: The article is devoted to the stylistic features of symphonic works by Alexander Beloborodov. The composer's reference to the Karelian-Finnish folklore in the First Symphony shows a careful attitude to ethnic traditions and influences the way of interacting with musical material with the help of melodiousness and variability. Melodiousness implies linearity, length, and variability - a change in melodic and textural presentation while maintaining the intonational basis. The generalized image of the freedom of the national spirit, expressed in a drawn-out cantilena, convincingly demonstrates the humanistic orientation of the author's artistic intention, sets an emotional atmosphere akin to the sensations of the breadth of the Kalevala epic space.

 

Keywords: images of the “Kalevala”, creativity of the Finno-Ugric peoples, symphonies of Alexander Beloborodov, composer's style, dramaturgy of symphonic development, composers of Karelia

 

 

Tatyana V. Kraskovskaja INCIDENTAL CANTATA IN THE WORKS OF COMPOSERS OF SOVIET KARELIA | 38-46

 

Abstract: The article is devoted to the genre of an incidental cantata in the works of Karl Rautio and Helmer Sinisalo. The analysis of the complex of musical and expressive means of the cantatas “Under the Banner of the Party” and “My Light and Joy” by G. Sinisalo allowed us to conclude that the cantata-oratorio genre of the Soviet era is characterized not only by the standards of the “great style”, but also by the historical traditions of the genre of the Russian cantata.

 

Keywords: Professional music of Karelia, Helmer Sinisalo, Karl Rautio, incidental cantata.

 

 

Ekaterina G. Okuneva CLUSTER TECHNIQUE – FIELD TECHNIQUE – MICROPOLYPHONY: GYÖRGY LIGETI’S COMPOSITIONAL INNOVATIONS IN THEORETICAL UNDERSTANDING OF ERKKI SALMENHAARA | 47-64

 

Abstract: In the 1960s, Ligeti developed a technique of static sonor composition, also known as micropolyphony. Its first theoretical understanding belonged to the Finnish musicologist and composer Erkki Salmenhaara, who published the book “Das musikalische Material und seine Behandlung in den Werken Apparitions, Atmospheres, Aventures und Requiem von György Ligeti” in 1969. In this study, a typology of Ligeti’s technique was proposed. Based on the properties of the musical material used, Salmenhaara differentiated cluster technique, field technique and micropolyphony in Ligeti’s oeuvre. The author of this article examines the specifics of each composition method, revealing their similarities and differences, and offers a new interpretation of the relationship between the field technique and micropolyphony, which differs from the one presented in Salmenhaara’s study. At the end of the article, a conclusion is drawn about the productivity of the research approach to sonorics through the analysis of the properties of musical material.

 

Keywords: György Ligeti, Erkki Salmenhaara, “Atmospheres”, “Apparitions”, Requiem, cluster technique, field technique, micropolyphony

 

 

Irina V. Koposova MELODIC-POLYPHONIC CLUSTER TECHNIQUE BY HENRIK NORDGREN: IN DIALOGUE WITH LIGETI | 65-82

 

Abstract: The article is devoted to an individual version of the sonor technique – the technique of melodic-polyphonic cluster, which was formed in the music of Pehr Henrik Nordgren (1944–2008). The time of its systematic development was short and covered the period from 1965 to the early 1970s, but the experience of the Finnish composer is of research interest. Nordgren's technique was formed under the influence of Gyorgy Ligeti's oeuvre and has not been studied in this aspect. In the article, the features of this technique are shown by the example of “Euphonie” Op. 5 for orchestra, one of the most significant compositions of those years. Conclusions about the nature of Nordgren's reception of Ligeti's music are drawn on the basis of an analysis of the features of orchestral writing, types of sound units and methods of textural organization used in different parts of the composition.

 

Keywords: sonor technique, melodic-polyphonic cluster technique, Gyorgy Ligeti, Pehr Henrik Nordgren, “Euphonie” Op. 5

 

 

Natalia P. Hilko THE THEORY OF CONTINUAL EVOLUTIONISM BY V. V. ZADERATSKY | 83-93

 

Abstract: The change of the worldview in the 20th century led to a reformatting of the system of artistic expression. The grammatical regulations were updated, and temporal and spatial relationships became more complex and multiplied. All this necessitated a revision of traditional principles of form-making and the search for new ways of creating artistic integrity. One of these became the principle of continuous evolutionism, based on constant “sliding” changes of intonational units, implementing the dichotomy of identity and contrast in a particular way. The theoretical development of this phenomenon was initiated by V. V. Zaderatsky. The researcher proposed a classification of types of continuous form-making, substantiated syntactic regularities, and formed a conceptual apparatus. The relevance of Zaderatsky's theory is confirmed by its broad application to various stylistic phenomena.

 

Keywords: V. V. Zaderatsky, the theory of continual evolutionism, the continual-static type of form-making, the continual-wave type of form-making, the continual-contrast type of form-making, phase syntax, quanta-motivic syntax, unfolding phase, impulsive-motivic formation

 

 

Andrey V. Dikoev ACADEMIC MUSIC FOR BAYAN (ACCORDION) BY COMPOSERS OF KARELIA | 94-120

 

Abstract: The article presents an overview of academic music for button accordion (accordion), created by composers of the Republic of Karelia. A small historical note is given on the academic bayan tradition of Karelia, the history of the creation of compositions, premiere performances of plays are considered, and a systematization of the studied music is proposed. The significance of the contribution of the composers of Karelia to the accordion repertoire is noted, the necessity of publishing a number of compositions is emphasized.

 

Keywords: music for button accordion, contemporary music, composers of Karelia, Albin Repnikov, Petrozavodsk Conservatoire

 

 

Maria V. Kozak EPITEXT AS A WAY OF PROMOTING IDEAS AND VIEWS OF THE COMPOSER (NDM PRINCIPLE OF RELATIVE MUSIC BY AVENIR H. DE MONFRED) | 121-139

 

Abstract: The article contains an analysis of the promotion strategy of the book “The New Diatonic Modal Principle of Relative Music” by Avenir H. de Monfred (New York, 1970) – the main theoretical work (1903–1974) which describes in detail the technique of the NDM principle and outlines the composer's views on the evolution of musical composition. The book had been preparing for publication for almost two decades and during this time had been repeatedly announced in the press by the composer himself and reviewers of articles about the premieres of de Monfred's works. In 1971, after the publication of the book, two English-language reviews were published with the perception of the NDM principle opposite to the composer's strategy.

 

Keywords: Avenir H. de Monfred, “The New diatonic principle of relative music”, epitext, Joseph Yasser, EMCA, polymodality, optional notation

 

 

Larisa V. Brazhnik PAST, PRESENT, FUTURE OF UDMURT MUSICAL FOLKLORISTICS (REVIEW OF I. M. NURIEVA’S MONOGRAPH UDMURT MUSICAL FOLKLORISTICS. PAGES OF HISTORY, Izhevsk, 2021) | 140-144

 

Abstract: Review of the monograph by I. M. Nurieva “Udmurt musical folkloristics. Pages of History” (Izhevsk, 2021) provides a critical analysis of the work, characterizes the relevance of the work, evaluates the author's methodological approaches to the study of the processes of formation and development of Udmurt ethnomusicology.

 

Keywords: Udmurt musical folklore, history of Udmurt ethnomusicology, archival materials