Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Moskva
Naučno-Izdat. Centr "Moskovskaja Konservatorija"
2014
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Piano music in Moscow concert life of the XIX century |
| Beschreibung: | 648 S. Notenbeisp. |
| ISBN: | 9785895982976 |
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Введение.......................................................4
ЧАСТЬ L МОСКОВСКАЯ КОНЦЕРТНАЯ СРЕДА
1. Концертная жизнь Москвы XIX столетия........................8
2. Фортепианная музыка в московском концертном пространстве...27
2Л. От исполнители-композитора
к исполнителю-интерпретатору...............................28
2.2. От «виртуозного» к «классическому» стилю..............33
2.3. Эволюция виртуозности.................................71
2.3.1. Виртуозность и игра.............................71
2.3.2. Камерность и концертность.......................76
ЧАСТЬ II. ПРОИЗВЕДЕНИЯ ПИАНИСТОВ-КОМПОЗИТОРОВ
1. Виртуозность и композиторское творчество...................80
2. Жанровая система...........................................84
2.1. Сонаты................................................84
2.2. Крупные концертные пьесы..............................97
2.2.1. Программные фантазии............................97
2.2.2. Рондо........................................ 101
2.2.3. Баллады. Скерцо................................108
2.2.4. Вариации. Вариационные фантазии................115
2.2.5. Переложения и обработки........................124
2.3. Миниатюры............................................142
2.3.1. Танцевальные миниатюры.........................143
2.3.2. Лирические миниатюры...........................163
2.3.3. Фигурационные миниатюры........................177
2.3.4. Программность в миниатюрах.....................188
2.4. Фортепиано плюс: концертные сочинения
с ансамблем или оркестром.................................201
2.4.1. Камерные ансамбли с участием фортепиано........202
2.4.2. Фортепианные концерты..........................215
Заключение. Фортепианная музыка как индикатор
концертной жизни Москвы XIX века.............................273
Основная литература..........................................283
Избранная нотография.........................................298
Приложение I. Фортепианная музыка в концертной жизни Москвы
XIX века: сводная хронологическая таблица....................310
Приложение II. Фортепианная музыка в программах
ученических концертов Московской консерватории 1867-1905.... 560
Именной указатель............................................636
Summary......................................................645
Summary
E. Shabshaevich. Piano music in Moscow concert life of the XIX century
The book is dedicated to the piano literature represented through Moscow
performing practice of the XIX century. It continues the previously published
study of the author: «The Musical life of Moscow in the XIX century and its reflec-
tion in the concert piano practice» (M: «Compositor», 2011). The book is focused
on a repertoire held in Moscow concerts throughout the nineteenth century.
It is methodologically very important that the compositions for piano (solo,
duets, chamber ensembles and piano concerts) are considered in the context
of the concert practice. Indeed, the development of piano music appears in the
repertoire of concerts in Moscow of the XIX century in the dynamics of the genre
evolution, in the ratio of Russian and European influences, in a difficult dialecti-
cal interdependence of creative search of the composers, performers (these are
often combined in one person) and listening query.
The First part of the study examines the configuration of the Moscow concert
space. Chapter 1 «The musical life of Moscow in the XIX century» surveys
a temporal, topographical and typological constituent of the Moscow’s concert
chronotope. It also discusses a variety of types of concerts: private and public, his-
toric, monographic, charity concerts and so on. Furthermore, the author outlines
the piano-performing segment of Moscow’s concert space, among which «home-
grown artists», guest performers, women pianists and prodigies are distinguished.
This chapter presents diverse forms of communities one way or another integra-
ted into the musical life of Moscow, particularly two leading Moscow’s Philhar-
monic organizations in the last third of the XIX century: Moscow department
of Russian Musical Society and Moscow Philharmonic Society.
Chapter 2 «Piano music at the Moscow concert space» contains a compre-
hensive study of the repertoire of concerts in Moscow. The process of expansion
of virtuoso pianist’s repertoire is traced in section 2.1. «From the performer-
composer to the performer-interpreter». In the next section «From the “vir-
tuoso style” to the “classic style”» (2.2.) the author pays attention to the decline
of popularity of virtuosic works and growing interest in «classic» (in terms of that
time) music. The dominance of the virtuoso style led to the prevalence of bright
compositions: variations and fantasies on popular melodies (especially operatic
fantasies), concert etudes, concert pieces for piano with orchestra. Then dances
and lyrical miniatures got embedded in the repertoire, and finally Sonata appeared
in concert programs. The implosion of the outstanding works of different epochs
is traced: Baroque (English and French clavecinists, J. S. Bach, G. F. Handel), Clas-
sicism (J. Haydn, W. Mozart, L. Beethoven), Romanticism (F. Schubert, C. M. We-
ber, F. Mendelssohn, R. Schumann, F. Chopin, F. Liszt, J. Brahms, E. Grieg). Spe-
cial attention is paid to increased interest in works of Russian authors.
Section 2.3. «The evolution of virtuosity» accentuates the problem of
the goals and objectives of the performer in connection with the aesthetic views
646
Summary
of that time. Paragraph 23.1. «Virtuosity and the game» is devoted to the evo-
lution of the concept «game» in the context of the piano performance. In the first
third of the XIX century a rapidly changing technology impelled performers to
learn all new and new possibilities of the tool, which made them look like a child
who has got a new toy. By the 1840s the situation had started to change. The
demonstration of mastery itself has no absolute value. Psychological motivation
is gradually replacing more external, mimetic forms of communication. The suc-
cess of the pianist depends not only on the technique, but the repertoire. The task
of the artist on a new stage — and this is the second half of the XIX century — is
perceived as intermediary: its goal is to communicate the intent of the author.
Paragraph 23.2. «The “chamber style” and the “concerto style”» discusses the
dialectical interaction of the chamber and concert types of performance in Mos-
cow concert life.
The Second part of the book «Works of pianists-composers» analyzes the
more narrow repertoire branch — works of pianists-composers, performed in
Moscow in the XIX century. They are studied in the context of the genre evolu-
tion, which is, in the authors opinion, to the greatest extent relevant to the most
important historical issue: self-identification of the Russian music in a pan-Euro-
pean context.
Chapter 1 «Virtuosity and composer s creativity» offers an enlightening
view on the connection of the performer s and the composer s work done by one
artistic personality taking into account that in the real practice of the nineteenth
century, these functions were often combined. Some works of pianists-composers
are discussed as an indicator of gradual evolution of virtuosity. Other samples
included so-called trivial music, little-known nowadays.
Furthermore, patterns in the development of certain genres of Russian piano
culture were traced depending on their relevance in the concert repertoire.
The model of this process, «The genre system of piano music», gave the
title to Chapter 2, which consists of 4 sections, each depicting one genre type.
The author notes the difficulties of Sonata implementation in Russia (2.1), the
outstanding role of foreign musicians (especially J. W. Haessler) in this process.
Unlike miscellaneous pieces, Fantasies, Etudes, Variations would allow both the
chamber and concert types, the content and habitant of the Sonata prevented the
popularity among mass concert audience. Virtuosos-composers at the second half
and even the end of XIX century continued to treat the performing (and, there-
fore, composing) Sonatas as risky in terms of creative and commercial success
of the concert venture. This applies even to A. Rubinstein, who never dared to
perform his own Sonatas as a whole cycle in the Moscow public concerts. It was
P. Tchaikovsky — not a virtuoso pianist and, consequently, free of the concert
stage unwritten rules — who created Great Sonata op 37b, approached by many
artists at his and future time. Soon came the rise of the Russian sonata-form
(works by H. Pahulskyi, S. Lyapunov and especially A. Scriabin).
The following section (2.2) discusses the extended concert pieces: Fanta-
sies, Rondo, Potpourri and other types. The evolution of each species is traced in
Summary
647
detail. Various modifications of Fantasies, Rondo in the end of XIX century are
described; peculiar perception of Russian piano music of Chopin s genres: Ballade
and Scherzo is pointed out. There is also a detailed overview of numerous types of
Variations. Special attention is paid to some kinds of arrangements, Paraphrases
and Operatic Fantasies.
The line of miscellaneous pieces (2.3) in the Russian piano music is unusu-
ally stable. The foreign and native composers successfully cultivated this genre
in chamber audience as well as in public concerts. This process is traced in dance
pieces (Quadrille, Polka, Gallop, Polonaise, Tarantella, Krakowiak, Waltz, Mazur-
ka; by the end of XIX century also ancient dances), lyric pieces (Nocturne, Lied
ohne Worte, Barcarolle, Melody, Romance, Intermezzo) and figurations pieces
(Prelude, Impromptu, Etude). Coexistence of the mimetic and psychological
types of programmability is noted. The author draws attention to the performing
practice of the keyboard cycles.
Piano ensemble and Piano Concerto are focused in 2.4.
In Russia at the turn of XVIII-XIX centuries concert repertoire for performances
of pianists with other musicians was initially formed not from the works of the actu-
al concert genre with the orchestra, but of chamber ensembles with piano. However,
Piano Concerto soon became a favorite genre for virtuoso performers-composers
as well as mass audience. Muscovites had the opportunity to hear Piano Concertos
in the concerts of their authors, virtuoso pianists: a classical type (J. W. Haessler),
an early romantic and mutual romantic style: lyrical (]. N. Hummel, J. Field) and
bravura (D. Steibelt, F. Ries, H. Herz, A. Henselt). The masterpieces of W. A. Mo-
zart, L. Beethoven, F. Chopin, R. Schumann, F. Liszt, and E. Grieg were also very
popular. The works of J. Field and of A. Rubinstein played the unique role in the
evolution of this genre in Russia thanks to the wide assimilation of romantic Con-
certo models. Russian composers, following Rubinstein, relied on the lyric-pathetic
concerto type with its spheres polarization: lyrics and heroics, often with a touch of
drama. P. Tchaikovsky s First Piano Concerto successfully realized the Russian style
in the genre. Masterpieces of the Silver Age (Piano Concertos by S. Rachmaninov,
A. Scriabin, N. Medtner, then S. Prokofiev), as well as their «satellites» A. Arensky,
S. Lyapunov, A. Glazunov and the other went forward.
Many works by «petites-maîtres» are worth considering, e.g. a very interest-
ing Concerto Es-dur op. 82 by P. Pabst, for the first time subjected to the typical
musical analysis, as well as Concerto op 2 by A. Arensky, youth works by A. Kore-
stchenko (Concerto-fantasia), A. Goedicke (Koncertstiick).
The author completed his study with a summary of the trends in Conclusion
(«Piano music as an indicator of Moscow concert life»). Summarizing the
information from a variety of sources (mainly periodicals of the day) she analy-
ses the music tastes and repertory preferences of Moscow society suggesting that
performance practice in XIX century piano music had a great influence on the
composers works.
Not only the great majority of the book, but the key element of its concepts
are Applications based on extensive documentary material. In the first, «Piano
648
Summary
music in the concert life of Moscow of the XIX century» we can find the infor-
mation about the Moscow concert with the piano events of the XIX century. The
second Application is devoted to piano music in the students’ parties of Moscow
Conservatory. Its inclusion is caused not only by the 150th anniversary of alma
mater but also by the unique role students’ concerts played in the development
of the musical life of Moscow and Russia.
The study is based on the materials from Russian archives and libraries: Rus-
sian State Archive of Literature and Art, Central Historical Archive of Moscow,
M. I. Glinka Museum, S. I. Taneev Research Music Library, Russian State Library,
State Historical Public Library, National Library of Russian, St. Petersburg Phil-
harmonic Music Library, Russian Institute of Art History. A large number of them
are named in the Notografy index. Many musical compositions are introduced
into scientific use for the first time. The analysis involved announcements, arti-
cles and reviews in the publications of the XIX century, which give an idea of the
reaction of the audience and critics on the phenomena. All this diverse texture,
hopefully, will help to reveal the main problem occupying the thoughts of the au-
thor — interaction concert environment and the composer’s work.
Шабшаевич Елена Марковна
Фортепианная музыка в концертной жизни Москвы XIX столетия
Монография
Редактор Е. М. Шабшаевич
Музыкальный редактор С. М. Мовчан
Дизайн, верстка Е. А. Ларина
Подписано в печать 30.04.2014. Бумага офсет. Формат бумаги 70x100 1/16.
Уел. печ. л. 52,245. Тираж 200 экз.
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125009, Москва, ул. Б. Никитская, д. 13/6
ООО Типография «Момент». 141406 Химки, Библиотечная ул., д. 11
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| geographic | Moskau (DE-588)4074987-3 gnd |
| geographic_facet | Moskau |
| id | DE-604.BV042259384 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:16:38Z |
| institution | BVB |
| isbn | 9785895982976 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027697198 |
| oclc_num | 921039819 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 648 S. Notenbeisp. |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Naučno-Izdat. Centr "Moskovskaja Konservatorija" |
| record_format | marc |
| spelling | Šabšaevič, Elena 1966- Verfasser (DE-588)1044268883 aut Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija Elena Šabšaevič Piano music in Moskow concert life of the XIX century Moskva Naučno-Izdat. Centr "Moskovskaja Konservatorija" 2014 648 S. Notenbeisp. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Piano music in Moscow concert life of the XIX century Geschichte 1800-1900 gnd rswk-swf Klaviermusik (DE-588)4030993-9 gnd rswk-swf Konzertleben (DE-588)4165233-2 gnd rswk-swf Komposition (DE-588)4032012-1 gnd rswk-swf Moskau (DE-588)4074987-3 gnd rswk-swf Moskau (DE-588)4074987-3 g Klaviermusik (DE-588)4030993-9 s Komposition (DE-588)4032012-1 s Konzertleben (DE-588)4165233-2 s Geschichte 1800-1900 z DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027697198&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027697198&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Šabšaevič, Elena 1966- Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija Klaviermusik (DE-588)4030993-9 gnd Konzertleben (DE-588)4165233-2 gnd Komposition (DE-588)4032012-1 gnd |
| subject_GND | (DE-588)4030993-9 (DE-588)4165233-2 (DE-588)4032012-1 (DE-588)4074987-3 |
| title | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija |
| title_alt | Piano music in Moskow concert life of the XIX century |
| title_auth | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija |
| title_exact_search | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija |
| title_full | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija Elena Šabšaevič |
| title_fullStr | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija Elena Šabšaevič |
| title_full_unstemmed | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija Elena Šabšaevič |
| title_short | Fortepiannaja muzyka v koncertnoj žizni Moskvy XIX stoletija |
| title_sort | fortepiannaja muzyka v koncertnoj zizni moskvy xix stoletija |
| topic | Klaviermusik (DE-588)4030993-9 gnd Konzertleben (DE-588)4165233-2 gnd Komposition (DE-588)4032012-1 gnd |
| topic_facet | Klaviermusik Konzertleben Komposition Moskau |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027697198&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027697198&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sabsaevicelena fortepiannajamuzykavkoncertnojziznimoskvyxixstoletija AT sabsaevicelena pianomusicinmoskowconcertlifeofthexixcentury |