Russians on Russian Music, 1830-1880: An Anthology

Some of the perpetual follies of Russian music study-anxiety about Chaikovsky’s sexuality and unwarranted speculation about Stravinsky’s, the continued currency of Shostakovich’s faked memoirs, the pretense that Prokofieff’s fine music excuses the inhumanity of the texts he willingly set during his Soviet years-are revisited under the aegis of the triad of transcendental values advanced by the Greeks: the Good, the True, and the Beautiful. Some parallel cases from outside the realm of Russian music are considered as well. The upshot: onlythe True is acceptable as a binding if unreachable goal for scholarship.

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GUO SHUZHEN IS ONE OF THE FIRST CHINESE PERFORMERS OF TATIANA IN THE OPERA "EUGENE ONEGIN" BY P. I. TCHAIKOVSKY

Arts education and science ◽

10.36871/hon.202103020 ◽

2021 ◽

Vol 1 (3) ◽

pp. 157-163

Author(s):

Wang Dan ◽

Keyword(s):

Vocal Music ◽

Chronological Order ◽

Russian Culture ◽

Russian Music ◽

Eugene Onegin ◽

Bolshoi Theater

The article presents a portrait of the famous Chinese soprano singer Guo Shuzhen, who was one of the first performers of the role of Tatiana in China. It reconstructs in chronological order the stages in the creative path of Guo Shuzhen, who turned 2021 in 94. She began her ascent to the opera Olympus at the Central Conservatory of Beijing, where she was a student of Professor Sheng Xiang, the "Chinese Caruso", and completed her studies at the Moscow Conservatory, which she graduated with honours. In the class of Professor E. K. Katulskaya, а former soloist of the Bolshoi Theater, the singer joined Russian culture and Russian music and mastered the classical opera repertoire. The part of Tatiana seems to have been inherited by her teacher as E. K. Katulskaya sang this part at the Bolshoi Theater. In 1962 Guo Shuzhen took part in the production of the opera "Eugene Onegin" by P. I. Tchaikovsky at the Beijing Tian Qiao Theater and helped in the translation of the opera's libretto into Chinese. To date, Guo Shuzhen is a Professor of Vocal Music and Opera Department at the Central Conservatory of Beijing.

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CLASSIC AND ROMANTIC IN RUSSIAN MUSIC

Music and Letters ◽

10.1093/ml/l.1.153 ◽

1969 ◽

Vol L (1) ◽

pp. 153-157

Author(s):

EDWARD GARDEN

Keyword(s):

Russian Music

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Vocal Symphony of Boris Tishchenko

Культура и искусство ◽

10.7256/2454-0625.2021.2.34981 ◽

2021 ◽

pp. 1-11

Author(s):

Iurii Eduardovich Serov

Keyword(s):

Personal Experience ◽

Literary Texts ◽

Multiple Images ◽

Russian Music ◽

History Of ◽

The Subject ◽

And Performance

The subject of this research is the monumental vocal-symphonic piece of the prominent Russian composer of the second half of the XX century Boris Tishchenko. His Symphony No.6 s based on the poems by A. Naiman, A. Akhmatova, O. Mandelstam, M. Tsvetaeva and V. Levinzon, completed in 1989, and tribute to Yevgeny Alexandrovich Mravinsky, who passed away a year before. Poetic lines that form the backbone of the symphony contain multiple images resembling death, which imparts a profound meaning, a moment of personal experience in dedication to the prominent conductor. Special attention is given to the symphonic dramaturgy of the Symphony No.6, the problem of interrelation between music and poetry, realization of the complex literary texts in the ultimately modern symphonism of Boris Tishchenko. The conclusion is made that Tishchenko is absolutely seamless in this vocal-symphonic opus and reveres his coauthors. The translates everything into the music, without missing a tiny thing that can reveal its meaning and beauty. At the same time, the circle of poetic images, semantics of the verse were transformed in accordance with his worldview. The novelty is defined by the fact that this article is first in Russian musicology, to comprehensively analyze the Symphony No.6  by Boris Tishchenko, reveal its semantics, and performance difficulties. The author attributes this symphonic composition of Boris Tishchenko to most remarkable in the history of Russian music.

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