The seven-string guitar in Russia: its origins, repertoire, and performance practice, 1800-1850
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2023
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| adam_text | Table of Contents Preface.......................................................................................................... viii On Russian and Soviet Sources Used in This Book................................. xiv Chapter 1........................................................................................................... 1 Origins Chapter II..................................................................................................... 53 The Guitar’s Welcome to Russia Chapter III.................................................................................................... 112 The Patriarch Chapter IV...................................................................................................166 The Art of Adaptation Chapter V....................................................................................................216 Semion Aksionov and His Russian Sound Chapter VI.................................................................................................. 287 Mikhail Vysotsky and the Romani (“Gypsy”) Influence Chapter VII................................................................................................. 349 The Russian Guitar after 1830 Appendix I: Annotated Translation of Mikhail Stakhovich, “An Essay on the History of the Seven-String Guitar” (1854)................................... 416 Appendix II: Notation of Russian Guitar Music,1800-60........................ 449 Select Bibliography..................................................................................... 459 Glossary of
Names...................................................................................... 466 Index.............................................................................................................. 468
Select Bibliography Abraham, Gerald. Essays on Russian and East European Music. Oxford: Clarendon Press, 1985. Aguado y Garcia, Dionisio. Nuevo metodo para guitarra. Edited by Brian Jeffery. English translation by Louise Bigwood. London: Tecla Editions, 1981. Asafiev, Boris. О narodnoi muzykę. Moscow: Muzyka, 1987. (“About the folk music.”) Bachmann-Geister, Brigitte. The Swiss Halzither (Cittern) as a Descendant of the Renaissance Cittern.” Unpublished paper, given at the 1997 American Musical Instrument Society Annual Meeting in Washington, D. C. Baron, Samuel H., trans, and ed., The Travels of Olearius in SeventeenthCentury Russia. Stanford: Stanford University Press, 1967. Ballstaedt, Andreas and T. Widmaier. Salonmusik: zur Geschichte und Funktion einer Bürgerlichen Musikpraxis. Stuttgart: Steiner Verlag Wiesbaden, 1989. Batov, Aleksandr and Nina Mileshina. Nekotorye organologicheskie osobennosti russkikh semistrunnykh gitar, Materiały k entsiklopedii muzykal nykh instrumentov narodov mira. Saint-Petersburg: Rossiiskii Institut Istorii Iskusstv, 1998. (“On some organological features of the Russian seven-string guitars.”) —. Plucked String Instruments in the Museum’s Collection. Moscow: Glinka Museum, 2013. Bernandt, Grigory, I. lampol sky and T. Kisikova. Kto pisal o muzykę. Biobibliografìheskii slovar muzykal nykh kritikov i lits, pisavshikh о muzykę v dorevoliutsionnoi Rossii i SSSR. Vols 1-4. Moscow: Sovetskii Kompozitor, 1971-1989. [Who wrote on music. Biographical and bibliographical dictionary of music critics and persons, who wrote on music in pre-
revolutionary Russia and USSR.] Bogatyriov, Pavel. “Ragozhskaia zastava” in Moskovskaia starina: Vospominaniia moskvicheiproshlogo stoletiia Moscow: Pravda (1989)
460 Select Bibliography 95-171. (“The Muscovite Past: Memoirs of the Muscovites from the Previous Century”) Buchner, Alexander. Musikinstrumente von den Anfängen bis zur Gegenwart. Prague: Artia, 1971. Bulgarin, Faddei. Ivan Vyzhigin, Part 3, St. Petersburg: Smirdin, 1830. Carcassi, Matteo. Vollständige Guitareschule. Mainz: Schott, 1836. Christensen, Leif. Tage mit Sarenko, Gitarre und Laute, 1 (1986) 13-16. Dlabacz, Gottfried Johann. Allgemeines historisches Künstler-Lexikon für Böhmen und zum Theil auch für Mähren und Schlesien. Prague, 1815. Dolgorukov, Ivan. Kapische moego serdtsa, Ui slovar’ vsekh tekh lits, s koimi ia byl v raznykh otnosheniiakh v techenie svoei zhizni. Moscow: Nauka, 1997. [My Heart’s Collection, or a Dictionary of All Persons, with Whom I Was in Various Relationships During My Life] Evans, Tom and Maty. Guitars: Music, History, Construction and Players from the Renaissance to Rock. New York: Facts on File, 1977. Faminizyn, Alexandr. Domra i srodnye ei instrumenty russkogo naroda. St. Petersburg: Arngold, 1891. [Domra and similar instruments of the Russian people.] Findeizen, Nikolai. Oherkipo istorii muzyki v Rossit s drevneishikh vremion do kontsa XIX veka. Vol 2. Moscow: Gosudarstvennoe izdateľstvo, 1928-29. [Essays on Russian music history from the ancient times to the end of the 19th century.] Frolova-Walker, Marina. Russian Music and Nationalism. New Haven: Yale University Press, 2007. Gasparov, Boris. “Farewell to the Enchanted Garden,” Five Operas and a Symphony: Word and Music in Russian Culture. New Haven: Yale University Press, 2005,
55. Glagoleva, Olga. “The Illegitimate Children of the Russian Nobility in Law and Practice, 1700-1860,” Kritika: Explorations in Russian and Eurasian History, Volume 6, Number 3, Summer 2005 (New Series), 461-499. Grabowski, Ambroży. Wspomnienia Ambrożego Grabowskiego, tom II [Memories of Ambroży Grabowski, vol. 2] Kraków: Tow. Miłośników Historyi i Zabytków Krakowa, 1909. Grigoriev, Apollon. Sobrante sochinenii, Moscow: Kushnerev and Co., 1916. [Collected works.]
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 461 Grünfeld, Frederic V. The Art and Times of the Guitar. An Illustrated History of Guitars and Guitarists. New York: Macmillan, 1969. Handelsman, Μ. Warszawa w roku 1806-1807 Warsaw: Nakładem towarzystwa miłośników historyi 1911. [Warsaw in 1806-1807.] Heck, Thomas F. The Birth of the Classical Guitar and its Cultivation in Vienna, Reflected in the Career and Compositions of Mauro Giuliani.” Unpublished Ph. D. diss., Yale University, 1970. —. Mauro Giuliani: Virtuoso Guitarist and Composer. Columbus, OH: Editions Orphee, 1995. —. Guitar Music in the Archive of the Guitar Foundation ofAmerica and at Co-operating Collections: a Computerized Catalog. Los Angeles: Guitar Foundation of America, 1981. —. The Role of Italy in the Early History of the Classical Guitar: A Sidelight on the House of Ricordi.” The Guitar Review 34 (1971) 1-6. Hess de Calve, Gustav. Teoriia muzyki, Ui razsuzhdenie o siom iskusstve. Vols. 1-2. Khar kov, 1818. [Music theory, or a speculation on this art.] Iakovlev, Pavel. Chuvstvitel’noe puteshestvie po Nevskomu prospektu. Moscow: Selivanovsky, 1828. [“A Sentimental Journey Along the Nevsky Prospect.] Ilyina, Anna. Dva zamechatel’nykh sobytiia khudozhestvennoi zhizni Anny Pavlovny Ilyinoi Moscow: Lissner i Roman, 1878. [Two Remarkable Events in the Artistic Life of Anna Pavlovna Ilyina.] Jeffery, Brian. Fernando Sor Composer and Guitarist. London: Tecla Editions, 1977. Kovalevskaia, Sofia. Vospominania. Povesti. Moscow: Nauka, 1974. [Memoirs. Novellas.]
Larin, Alexandr. Gitara v Rossii: obzor literatury.” Al manakh bibliofila 11 (1981) 142-153. (“Guitar in Russia: survey of published materials.”) Lotman, Yuri. Besedy о russkoi kul’ture: byt i traditsii russkogo dvorianstva (XVIII—nachalo XIXveka). St-Petersburg: Iskusstvo, 1994. [Conversations about the Russian culture: daily life and traditions of the Russian noble class, 18th-early 19th centuries.] Makarov, Nikolai. Moi semidesiatiletnie vospominaniia i s tern vmeste moia predsmertnaia ispoved . St. Petersburg, 1881. [The memoirs from the seventy years of my life.]
462 Select Bibliography Maksimov, Sergei. Lesnaia glush ’, kartiny narodnogo byta iz vospominanii i putevykh zametok. St. Petersburg: Plotnikov, 1871. [Pictures of simple people’s lives from memoirs and travel notes.] Martin-Gil, Damián: “L’insegnamento Dei Passaggi Détaché nei Metodi Pubblicati tra il 1750 e il 1850,” Ilfronimo 158 (2012) 27-44. Mooser, R. Aloys. Annales de la Musique et des Musiciens en Russie au XlIIe siècle. Genève: Editions Mont-Blanc, 1948-51. Naroditskaya, Inna. Bewitching Russian Opera: The Tsarina from State to Stage. Oxford: Oxford University Press, 2012. Odoevsky, Vladimir. Izbrannye muzykal no-kriticheskie stat i. Moscow: Gosudarstvennoe muzykaľnoe izdatel stvo, 1951. [Selected articles on music.] —. The Town in the Snuff-Box. Old Father Frost, trans, by K. Μ. CookHoruju, Moscow: Raduga, 1990. Ograkova, Natalia. Tseremonii, prazdnestva, muzyka russkogo dvora, XVIII-nachalo XIX veka, St. Peterburg, DB: 2004. [Ceremonies, Festivities, and Music of the Russian Court in the 18th-early 19th Centuries.] Opisanieprazdnika, dannago rodnymi i druz iami Ego Prevoskhoditel stvu Vsevolodu Andreevichu Vsevolozhskomu: po sluchaiu dnia ego rozhdeniia v Riabovie, 25 oktiabria 1822 goda. St. Petersburg: Grech, 1823. [The description of a birthday party prepared for His Majesty V. A. Vsevolozhsky by his friends and family.] Ophee, Matanya. Essays on Guitar History. Columbus: Editions Orphée, 2016. —. La chitarra in Russia: osservazioni dall occidente.” Il Fronimo 6 (1989) 8-22. —. The Light on the so-called Modern Guitar Notation.” Guitar and Lute
27(1983)20-28. Poulopoulos, Panagiotis. The Guittar in the British Isles, 1750-1810. Ph. D. Thesis, University of Edinburgh, 2011. Powrozniak, Józef. Die Gitarre in Rußland, Gitarre und Laute 6 (1979) 18-24. —. Gitara ot A do Z. Krakow: PWM, 1966. Pyliaev, Mikhail. Staraia Moskva: rasskazy iz byloi zhizni pervoprestol noi stolitsy. Moskva: Moskovskii Rabochii, 1990. [The Old Moscow:
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 463 Stories from the past of Russia s capital.] Rabinovich, Aleksandr. Russkaia opera do Glinki. Leningrad: Muzgiz, 1948. [Russian opera before Glinka.] Raeff, Marc, ed. Russian intellectual history: an anthology. With an introduction by Isaiah Berlin. New York: Harcourt, Brace World, 1966. Ridenour, Robert. Nationalism, Modernism, and Personal Rivalry in Nineteenth-Century Russian Music. Ann Arbor: UMI Research Press, 1977. Rosen, Charles. Sonata Forms. New York: Norton, 1980. —. The Romantic Generation. Cambridge: Harvard University Press, 1995. Rusanov, Valerian. Gitara igitaristy. Moscow: Vasiliev (1901). [Guitar and Guitarists] —. Gitara i gitaristy. M. T. Vysotsky, russky gitarist-virtuoz, kompozitor narodnykh pesen. Moscow: Kushnerev, 1899. [Mikhail Vysotsky, the Russian virtuoso guitarist and composer of folk songs.] Semenyuk, Alla. “Russian Editions of Works by Michal Kleofas Ogiński in the Holdings of the Russian State Library,” Fontes Artis Musicae 52 (2005) 135-8. Schurov, Viacheslav. “Nesimmitrichnye ritmicheskie struktury v russkoi narodnoi pesne (“Non-symmetrical Rhytmic Structures in Russian Folksong”) in Problemy kompozitsii narodnoi pesni (Problems of Composition in Folk Songs), Moscow: Moscow Conservatoire (1997) 4-32. Shteinpress, Boris. Stranitsy iz zhizni A. A. Aliabieva. Moscow: Muzgiz, 1956. [Pages from Alexander Aliabiev’s Life.] Sparr, Kenneth. “Barthelemy Trille Labarre, ‘Professeur de Guitare et Compositeur, Elève d’Haydn,’ biography and catalogue of
works,” The Lute 56 (2016) 1-129. Stakhovich, Mikhail. Ocherk istorii semistrunnoi gitary. Moskvitianin IV (1854) 1-17 and V (1855) 226-238. (“Essay on the History of the Seven-String Guitar.”) (A complete annotated translation is included in this book as Appendix I) Staël-Holstein, Baroness de. Ten Years’ Exile, or Memoirs of That Interesting Period of the Life of Baroness de Staël-Holstein, London: Treuttel and Würtz, 1821.
464 Select Bibliography Stolpiansky, Piotr. Muzyka i muzitsirovanie v starom Peterburge. Leningrad: Muzyka, 1989. [Music and music-making in old St. Petersburg.] Scherbakova, Taisiia. Tsyganskoe muzykal noe ispolnitel stvo i tvorchestvo v Rossit. Moscow: Muzyka, 1984. [The Gypsy musical performance in Russia.] Stählin, Jakob. “Stählins Nachrichten von der Musik in Russland՝՝ in Μ. Haigold, Beilagen zum neuveränderten Russland, Riga: Harstknoch, 1770. Stenstadvold, Erik. “Long or short? The appoggiatura in early nineteenth century guitar tradition with special reference to the music of Femando Sor,” Early Music 46/1 (2018) 87-10. —. “The Evolution of Guitar Notation, 1750-1830,” GFA Soundboard 32/23,2006, 11-30. Summerfield, Maurice. The Classical Guitar: Its Evolution and Its Players Since 1800. Newcastle-upon-Tyne: Ashley Mark Pub. Co., 1992. Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays. Princeton: Princeton University Press, 1997. —. How the Acorn Took Root: A Tale of Russia.” 19th Century Music 6 (1983) 189-212. —. Opera and Drama in Russia as Preached and Practiced in the 1860s. Ann Arbor: UMI Research Press, 1981. Timofeyev, Oleg. “The Golden Age of the Russian Guitar: Repertoire, Performance Practice, and Social Function of Seven-String Guitar Music, 1800-1850,” unpub. Ph. D. Dissertation, Duke U., 1999. Timofeyev, Oleg and Fedor Kondenko. The Art of Russian Gypsy Guitar. Anaheim Hills: Centerstream, 2018. —. “The Russian Seven-String Guitar ca. 1800: Organology and Search for Origins,” Gitarre und Zister: Bauweise, Spieltechnik
und Geschichte bis 1800. Verlag Janos Sekovics (2004) 229-246. —. “Russkaia semistrunnaia gitara: Proiskhozhdenie, instrumenty, i muzykal’noe nasledie,՝՝ in the Russian translation of James Westbrook’s The Century That Shaped The Guitar, Moscow: Klassika-21 (2012) 196-213. (“The Russian Seven-String Guitar: Origins, Surviving Instruments, and Musical Heritage.”)
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 465 Toporov, Vladimir. Peterburg i peterburgskii tekst russkoi literatury. (Vvedenie v temu). ” In Mif. Ritual. Simvol. Obraz. Issledovaniia v oblasti mifopoeticheskogo. Moskva: Progress, 1995. (“Petersburg and the Petersburg text of Russian literature.”) Turian, Marietta. Strannaia moia sud’ba. Moscow: Kniga, 1991. (“My Fate is Strange,” a monograph on Prince Vladimir Odoevsky.”) Travin, Leonty, Zapiski. Pskov: Robin, 1994. [Memoirs.] Tsukkerman, Viktor. Kamarinskaia Glinki i eio traditsii v russkoi muzykę. Moscow: Gosudarstvennoe muzykal noe izdatel stvo, 1957. [Glinka s Kamarinskaia and its Traditions in Russian music.] Turgenev, Ivan. “Chasy: rasskaz starika” in Sobrante sochinenii [Collected Works], Berlin: Slovo, 1921,190-248. (“A Pocket Watch: An Old Man’s Story”) Tyler, James. The Early Guitar. A History and Handbook. Oxford: Oxford University Press, 1980. Venuti, Lawrence. Translator’s Invisibility: A History of Translation. London: Routledge, 1995. Vol man, Boris. Gitara v Rossii. Leningrad: Gosudarstvennoe Muzykal noe Izdatel stvo, 1961. [Guitar in Russia.] —. Russkie pechatnye noty 18go veka. Leningrad: Gosudarstvennoe Muzykal noe Izdatel stvo, 1957. [Russian musical publications of the 18th century.] —. Russkie pechatnye noty 19go—nahala 20go veka. Leningrad: Muzyka, 1970. [Russian musical publications of the 19th—early 20th centuries.] Wójcicki, Kazimierz Władysław. Warszawa ijéj społeczność w początkach naszego stulecia, Warszawa: 1874-1876. [Warsaw and Its
Community at the Beginning of Our Century.] Yablokov, Mikhail. Klassiheskaia gitara v Rossii i SSSR. Biografiheskii muzykalino-literaturnyi slovar -spravohnik russkikh i sovetskikh deiatelei gitary. Tyumen: Russkaia Entsiklopediia, 1992. [Classical guitar in Russia and USSR. Biographical musico-literary dictionary handbook of Russian and Soviet guitarists.] (Throughout my book I refer to this source as “Yablokov [page number]”.)
Glossary of Names Aksionov, Semion (1782-1853), first-rate guitarist and guitar composer of semi-noble origin. Alexandrov, Nikolai (18187-84?), high-ranking military officer (colonel?) and a guitar composer fl. ca. 1860. Alexeyev, Konstantin (fl. ca. 1830), student of Μ. Vysotsky and the publisher of the latter’s compositions. Alferiev, Vasily (fl. ca. 1800-30), guitar composer and arranger. Batov, Ivan (1767-1841), the earliest significant violin and guitar builder in Russia. Beloshein, Pavel (1799-1869), virtuoso guitar player who studied with both A. Sychra and Μ. Vysotsky. Glinka, Mikhail (1804-57), the greatest Russian composer of the first half of the 19th centuiy. Gornostaieff, I[van?] (fl. ca. 1810), guitar composer. Grigoriev, Apollon ( 1822-64), poet, amateur guitarist, specialist in RussianRomani folklore. Hanff, Johann, German composer and the author of one of the earliest methods for the seven-string guitar (1805). Held, Ignaz von (1764-1816), Czech-born officer of Polish army, and the author of the earliest method for the seven-string guitar in Russia, an active publisher of guitar, piano, vocal, choral, and orchestral piano music. Kamensky, Jozef (fl. ca. 1800), Polish guitarist and music teacher. Khandoshkin, Ivan (1747-1804), Ukrainian by birth, historically the first virtuoso violinist at the Russian Imperial Court. Kushenov-Dmitrievsky, Dmitry (ca. 1772-1835), one of the most active guitar composers and publishers in Russia. Kushenov-Dmitrievsky, Fedor (d. 1812), the father of Dmitry KushenovDmitrievsky, a virtuoso gusli player and composer. Ladyzhensky,
Pavel (fl. ca. 1830-40), landlord from Tula, composer, guitar and balalaika player.
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 467 Liakhov, Ivan (1813-77), virtuoso guitarist and a student of both Μ. Vysotsky and A. Sychra. Lvov, Vladimir (fl. ca. 1800), a Count with considerable musical talent, a guitar composer and student of J. Kamensky. Makarov, Nikolai (1810-90), Russian officer, performer on and composer for the six-string guitar, philologist. Morkov, Vladimir (1801-64), guitar teacher and composer of noble origin. Orekhov, Sergei (1935-98), an outstanding seven-string guitar virtuoso and composer. Rachinsky, Gavriil (1777-1843), Ukrainian-born violin virtuoso. Rusanov, Valerian (1866-1918), guitar teacher and historian. Sarenko, Vasily (1841-81), medical doctor and guitar composer. Stakhovich, Mikhail (1820-58), poet and specialist in horse breeding, the author of the first history of the seven-string guitar in Russia (1854). Svintsov, Vasily (fl. ca. 1825-70), virtuoso guitarist and a student of A. Sychra. Sychra, Andrei (1733-1850), Russified Czech who became the Patriarch of the Russian seven-string guitar school; the most productive of all nineteenth-century seven-string guitarists in Russia. Vetrov, Alexander (d. 1877), medical doctor, guitar virtuoso, and an original composer for the seven-string guitar. Vsevolzhsky, Vsevolod (1769-1836), arguably the richest person in Russia of the time, aristocrat, merchant, and entrepreneur. Vysotsky, Mikhail (1791-1837), manumitted serf, seven-string guitar composer and improviser, who developed his own style of composing for his instrument. Yakubovsky,
I[van?], author of musical “memoirs,” published in 1835. Zimmerman, Fedor (1806-82), landlord from Tambov region, an owner of a stud farm, and a legendary guitarist and improvisor.
Index Aksionov, Semion 70, 71, 86, 94, 103, 104, 110, 112, 119, 121125, 135, 148, 149, 152, 159, 164, 183, 185,216-287, 289, 291,292, 297, 303, 304,316, 317, 321,323, 332, 340, 341, 349, 352, 353, 374, 380, 394, 397, 401,416,418- 425, 433, 436-438, 441, 444, 446-449, 451,457, 466 Alexandrov, Nikolai 43, 123, 130, 137, 353, 354, 356, 359, 364, 392, 407^115,448, 466 Alexeyev, Konstantin 301-303, 309, 310, 321,326,466 Alferiev, Vasily 103, 119,168,182184, 215, 234,251,274, 305, 465 Bandura 80, 84-86, 89, 90 Batov, Ivan 54 Beloshein, Pavel 277, 299, 301, 303,346, 381,386,387, 388, 389, 436, 447, 466 Campanella, see “Harp effect” Convex (“crowned) fingerboard 56, 61,62 Detachable (adjustable) neck 57, 59, 60, 62 English guitar 14, 16-21,23,24,31, 46,51, 108, 123, 131,274 Glinka, Mikhail 68, 123, 125, 151, 158, 169, 171, 172, 175, 176, 195-197,215, 244, 251,339, 350,391,411,440, 442, 443 Gornostaieff, I[van?] 103, 304, 305, 466 Grigoriev, Apollon 87, 342, 350, 352, 393, 437, 460, 466 Gusli 2, 17, 72, 77, 80-85, 111, 140, 240, 269, 270, 273, 466 Gut strings 17, 23, 27, 46, 47, 49, 56, 61, 128, 274, 275 Hanff, Johann 47-49, 51, 69, 86, 261,270, 274, 321,466 Harp 12, 46, 50, 72-78, 80, 103, 107, 112, 116, 153,207,417 Harp effect (campanella) 69, 72, 76, 95, 144, 146, 149, 160-162, 174, 191, 192,201-203,207,237, 316, 319,320, 340,414,456,457 Held, Ignaz von 15-17, 20-27, 39, 44, 48,51,52, 76,81, 114, 117, 118, 120, 159, 185, 226, 252, 263,271-276, 278, 321,353, 450, 451,466 Kamensky, Jozef 26-35, 37, 43, 44, 51,52, 78, 166,353,361,407, 466 Khandoshkin, Ivan 267-270, 420, 440, 466
Kobza 84-86 Kushenov-Dmitrievsky, Dmitry 47, ΊΊ, 81-84, 120, 159, 168,238, 270, 273, 274, 275, 321,407, 466 Kushenov-Dmitrievsky, Fedor 82, 83, 269, 270, 273, 466 Ladyzhensky, Pavel 404-408, 466 Liakhov, Ivan 301, 351, 366, 382389,419, 436, 437, 444-446, 447, 467 Lvov, Vladimir 27, 32-36, 44, 67, 166, 193, 353, 407, 467 Makarov, Nikolai 127, 404-406, 408, 461,467 Morkov, Vladimir 43, 64, 65, 106, 123, 125, 130, 158, 164, 167, 194-198,215, 324, 351-354, 359-367,380,381,383,387,
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 419,423, 437, 442-447, 451,467 Orekhov, Sergei 288, 289, 302, 311, 373, 467 Protiazhnaia/protiazhnye 36, 67, 68, 170, 173, 261, 326, 428 Polish guitar 123 Quart Guitar 63-65, 126, 164, 196199,209,215, 274,353,360, 361,378,386,387,389 Rachinsky, Gavriil 270, 419, 420, 431,440, 448,467 Roma (“Gypsies”) 90, 231, 232, 289, 337-348, 397 Romans (genre) 68, 71, 88, 98, 99, 167,232,313,327, 340,353, 383,391,397,412, 445,446 Rusanov, Valerian xvi-xviii, xx, xxiii, 26, 51, 113, 127, 162-164, 166, 205,217, 232-237, 243245, 250, 251,254,290-292, 297-299, 301,302, 321,330, 359,368, 373, 375,378,381, 382, 388, 390, 392, 400, 402404, 463, 467 Sarenko, Vasily 43, 80, 123, 125, 130, 137, 164, 167, 220, 280, 281,285,352, 353, 356, 359, 364, 366-373, 381-383, 392, 415,419, 423,436, 442, 447, 451,454, 458, 460, 467 Schrammelgitarre 65, 217 Stakhovich, Mikhail ix, xii, xv, xvi, xxiii, 50, 51, 112-114, 129, 130, 135, 142, 148, 149, 154, 162, 164, 168, 180, 183, 195, 196, 217, 220-223, 228-232, 234, 243, 244, 265-267, 269, 270, 290-295,301,303,308,310, 311,333,334, 337,338, 340, 343, 347, 350-354, 361, 366, 367, 369, 372, 383, 384, 386, 389, 390, 392-398, 414-448, 463,467 Svintsov, Vasily 77, 279, 296, 297, 378, 379, 406, 407, 447, 455, 467 _______ Bayerische SbvttebiWkHhek München 469 Sychra, Andrei viii, xix, xi, xii, xv, xvi, xix, xxii, 38-43, 50, 54, 6870, 75-79, 86, 94, 100, 101, 103, 105, 106, 112-183, 185-195, 198-216, 220, 221,229-231, 234, 235, 237, 238, 240-245, 250,251,253,254, 257, 267,
270, 271,274, 276, 278-280, 285,287, 295, 303,310,311, 314-317, 321,323,324, 332, 340, 341, 349, 352, 353, 359361, 363, 366-370, 375, 380, 383,386,388,389, 391,394, 401,405-408,411,415,416425, 427, 428, 430, 433, 434, 436-438, 441-444, 446, 447, 449, 451,466, 467 Terzgitarre 63, 64, 126, 196, 284, 387, 421,442 Torban 84-90, 111, 240, 267, 437, 444 Ukrainian instruments—see Torban, Kobza, and Bandura Vetrov, Alexander xi, xvii, 137, 298,301,351,353,354, 356, 389-405, 407,415,419, 433, 435-438, 445, 446, 451,467 Vsevolzhsky, Vsevolod 223-228, 230, 231,277, 462,467 Vysotsky, Mikhail xi, xv, xvi, xxii, xxiii, 51,76, 79, 86, 94, 100, 101, 106, ПО, 112, 135, 137, 143, 149, 152, 155, 162, 163, 185, 195, 220, 221,229, 235, 243, 257, 266, 278, 279, 286349, 352, 353, 359, 364, 366, 373, 380, 382-385, 388-390, 393,394, 396-399, 401,406, 415,416,418,419,421-448, 451,453-458,463,466, 467 Yakubovsky, I[van?] 356-358, 467 Zimmerman, Fedor xi, xxii, 79, 80, 95, 96, 106, 123, 125, 130, 164, 195,280,351-354,356,359, 361,372-383, 389, 392,416, 419,436-443,445-447,456, 467
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Table of Contents Preface. viii On Russian and Soviet Sources Used in This Book. xiv Chapter 1. 1 Origins Chapter II. 53 The Guitar’s Welcome to Russia Chapter III. 112 The Patriarch Chapter IV.166 The Art of Adaptation Chapter V.216 Semion Aksionov and His Russian Sound Chapter VI. 287 Mikhail Vysotsky and the Romani (“Gypsy”) Influence Chapter VII. 349 The Russian Guitar after 1830 Appendix I: Annotated Translation of Mikhail Stakhovich, “An Essay on the History of the Seven-String Guitar” (1854). 416 Appendix II: Notation of Russian Guitar Music,1800-60. 449 Select Bibliography. 459 Glossary of
Names. 466 Index. 468
Select Bibliography Abraham, Gerald. Essays on Russian and East European Music. Oxford: Clarendon Press, 1985. Aguado y Garcia, Dionisio. Nuevo metodo para guitarra. Edited by Brian Jeffery. English translation by Louise Bigwood. London: Tecla Editions, 1981. Asafiev, Boris. О narodnoi muzykę. Moscow: Muzyka, 1987. (“About the folk music.”) Bachmann-Geister, Brigitte. "The Swiss Halzither (Cittern) as a Descendant of the Renaissance Cittern.” Unpublished paper, given at the 1997 American Musical Instrument Society Annual Meeting in Washington, D. C. Baron, Samuel H., trans, and ed., The Travels of Olearius in SeventeenthCentury Russia. Stanford: Stanford University Press, 1967. Ballstaedt, Andreas and T. Widmaier. Salonmusik: zur Geschichte und Funktion einer Bürgerlichen Musikpraxis. Stuttgart: Steiner Verlag Wiesbaden, 1989. Batov, Aleksandr and Nina Mileshina. "Nekotorye organologicheskie osobennosti russkikh semistrunnykh gitar," Materiały k entsiklopedii muzykal'nykh instrumentov narodov mira. Saint-Petersburg: Rossiiskii Institut Istorii Iskusstv, 1998. (“On some organological features of the Russian seven-string guitars.”) —. Plucked String Instruments in the Museum’s Collection. Moscow: Glinka Museum, 2013. Bernandt, Grigory, I. lampol'sky and T. Kisikova. Kto pisal o muzykę. Biobibliografìheskii slovar' muzykal'nykh kritikov i lits, pisavshikh о muzykę v dorevoliutsionnoi Rossii i SSSR. Vols 1-4. Moscow: Sovetskii Kompozitor, 1971-1989. [Who wrote on music. Biographical and bibliographical dictionary of music critics and persons, who wrote on music in pre-
revolutionary Russia and USSR.] Bogatyriov, Pavel. “Ragozhskaia zastava” in Moskovskaia starina: Vospominaniia moskvicheiproshlogo stoletiia Moscow: Pravda (1989)
460 Select Bibliography 95-171. (“The Muscovite Past: Memoirs of the Muscovites from the Previous Century”) Buchner, Alexander. Musikinstrumente von den Anfängen bis zur Gegenwart. Prague: Artia, 1971. Bulgarin, Faddei. Ivan Vyzhigin, Part 3, St. Petersburg: Smirdin, 1830. Carcassi, Matteo. Vollständige Guitareschule. Mainz: Schott, 1836. Christensen, Leif. "Tage mit Sarenko," Gitarre und Laute, 1 (1986) 13-16. Dlabacz, Gottfried Johann. Allgemeines historisches Künstler-Lexikon für Böhmen und zum Theil auch für Mähren und Schlesien. Prague, 1815. Dolgorukov, Ivan. Kapische moego serdtsa, Ui slovar’ vsekh tekh lits, s koimi ia byl v raznykh otnosheniiakh v techenie svoei zhizni. Moscow: Nauka, 1997. [My Heart’s Collection, or a Dictionary of All Persons, with Whom I Was in Various Relationships During My Life] Evans, Tom and Maty. Guitars: Music, History, Construction and Players from the Renaissance to Rock. New York: Facts on File, 1977. Faminizyn, Alexandr. Domra i srodnye ei instrumenty russkogo naroda. St. Petersburg: Arngold, 1891. [Domra and similar instruments of the Russian people.] Findeizen, Nikolai. Oherkipo istorii muzyki v Rossit s drevneishikh vremion do kontsa XIX veka. Vol 2. Moscow: Gosudarstvennoe izdateľstvo, 1928-29. [Essays on Russian music history from the ancient times to the end of the 19th century.] Frolova-Walker, Marina. Russian Music and Nationalism. New Haven: Yale University Press, 2007. Gasparov, Boris. “Farewell to the Enchanted Garden,” Five Operas and a Symphony: Word and Music in Russian Culture. New Haven: Yale University Press, 2005,
55. Glagoleva, Olga. “The Illegitimate Children of the Russian Nobility in Law and Practice, 1700-1860,” Kritika: Explorations in Russian and Eurasian History, Volume 6, Number 3, Summer 2005 (New Series), 461-499. Grabowski, Ambroży. Wspomnienia Ambrożego Grabowskiego, tom II" [Memories of Ambroży Grabowski, vol. 2] Kraków: Tow. Miłośników Historyi i Zabytków Krakowa, 1909. Grigoriev, Apollon. Sobrante sochinenii, Moscow: Kushnerev and Co., 1916. [Collected works.]
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 461 Grünfeld, Frederic V. The Art and Times of the Guitar. An Illustrated History of Guitars and Guitarists. New York: Macmillan, 1969. Handelsman, Μ. Warszawa w roku 1806-1807 Warsaw: Nakładem towarzystwa miłośników historyi 1911. [Warsaw in 1806-1807.] Heck, Thomas F. "The Birth of the Classical Guitar and its Cultivation in Vienna, Reflected in the Career and Compositions of Mauro Giuliani.” Unpublished Ph. D. diss., Yale University, 1970. —. Mauro Giuliani: Virtuoso Guitarist and Composer. Columbus, OH: Editions Orphee, 1995. —. Guitar Music in the Archive of the Guitar Foundation ofAmerica and at Co-operating Collections: a Computerized Catalog. Los Angeles: Guitar Foundation of America, 1981. —. "The Role of Italy in the Early History of the Classical Guitar: A Sidelight on the House of Ricordi.” The Guitar Review 34 (1971) 1-6. Hess de Calve, Gustav. Teoriia muzyki, Ui razsuzhdenie o siom iskusstve. Vols. 1-2. Khar'kov, 1818. [Music theory, or a speculation on this art.] Iakovlev, Pavel. Chuvstvitel’noe puteshestvie po Nevskomu prospektu." Moscow: Selivanovsky, 1828. [“A Sentimental Journey Along the Nevsky Prospect.] Ilyina, Anna. Dva zamechatel’nykh sobytiia khudozhestvennoi zhizni Anny Pavlovny Ilyinoi Moscow: Lissner i Roman, 1878. [Two Remarkable Events in the Artistic Life of Anna Pavlovna Ilyina.] Jeffery, Brian. Fernando Sor Composer and Guitarist. London: Tecla Editions, 1977. Kovalevskaia, Sofia. Vospominania. Povesti. Moscow: Nauka, 1974. [Memoirs. Novellas.]
Larin, Alexandr. "Gitara v Rossii: obzor literatury.” Al'manakh bibliofila 11 (1981) 142-153. (“Guitar in Russia: survey of published materials.”) Lotman, Yuri. Besedy о russkoi kul’ture: byt i traditsii russkogo dvorianstva (XVIII—nachalo XIXveka). St-Petersburg: Iskusstvo, 1994. [Conversations about the Russian culture: daily life and traditions of the Russian noble class, 18th-early 19th centuries.] Makarov, Nikolai. Moi semidesiatiletnie vospominaniia i s tern vmeste moia predsmertnaia ispoved'. St. Petersburg, 1881. [The memoirs from the seventy years of my life.]
462 Select Bibliography Maksimov, Sergei. Lesnaia glush ’, kartiny narodnogo byta iz vospominanii i putevykh zametok. St. Petersburg: Plotnikov, 1871. [Pictures of simple people’s lives from memoirs and travel notes.] Martin-Gil, Damián: “L’insegnamento Dei Passaggi Détaché nei Metodi Pubblicati tra il 1750 e il 1850,” Ilfronimo 158 (2012) 27-44. Mooser, R. Aloys. Annales de la Musique et des Musiciens en Russie au XlIIe siècle. Genève: Editions Mont-Blanc, 1948-51. Naroditskaya, Inna. Bewitching Russian Opera: The Tsarina from State to Stage. Oxford: Oxford University Press, 2012. Odoevsky, Vladimir. Izbrannye muzykal'no-kriticheskie stat'i. Moscow: Gosudarstvennoe muzykaľnoe izdatel'stvo, 1951. [Selected articles on music.] —. The Town in the Snuff-Box. Old Father Frost, trans, by K. Μ. CookHoruju, Moscow: Raduga, 1990. Ograkova, Natalia. Tseremonii, prazdnestva, muzyka russkogo dvora, XVIII-nachalo XIX veka, St. Peterburg, DB: 2004. [Ceremonies, Festivities, and Music of the Russian Court in the 18th-early 19th Centuries.] Opisanieprazdnika, dannago rodnymi i druz'iami Ego Prevoskhoditel'stvu Vsevolodu Andreevichu Vsevolozhskomu: po sluchaiu dnia ego rozhdeniia v Riabovie, 25 oktiabria 1822 goda. St. Petersburg: Grech, 1823. [The description of a birthday party prepared for His Majesty V. A. Vsevolozhsky by his friends and family.] Ophee, Matanya. Essays on Guitar History. Columbus: Editions Orphée, 2016. —. "La chitarra in Russia: osservazioni dall'occidente.” Il Fronimo 6 (1989) 8-22. —. "The Light on the so-called 'Modern' Guitar Notation.” Guitar and Lute
27(1983)20-28. Poulopoulos, Panagiotis. The Guittar in the British Isles, 1750-1810. Ph. D. Thesis, University of Edinburgh, 2011. Powrozniak, Józef. "Die Gitarre in Rußland," Gitarre und Laute 6 (1979) 18-24. —. Gitara ot A do Z. Krakow: PWM, 1966. Pyliaev, Mikhail. Staraia Moskva: rasskazy iz byloi zhizni pervoprestol'noi stolitsy. Moskva: Moskovskii Rabochii, 1990. [The Old Moscow:
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 463 Stories from the past of Russia's capital.] Rabinovich, Aleksandr. Russkaia opera do Glinki. Leningrad: Muzgiz, 1948. [Russian opera before Glinka.] Raeff, Marc, ed. Russian intellectual history: an anthology. With an introduction by Isaiah Berlin. New York: Harcourt, Brace World, 1966. Ridenour, Robert. Nationalism, Modernism, and Personal Rivalry in Nineteenth-Century Russian Music. Ann Arbor: UMI Research Press, 1977. Rosen, Charles. Sonata Forms. New York: Norton, 1980. —. The Romantic Generation. Cambridge: Harvard University Press, 1995. Rusanov, Valerian. Gitara igitaristy. Moscow: Vasiliev (1901). [Guitar and Guitarists] —. Gitara i gitaristy. M. T. Vysotsky, russky gitarist-virtuoz, kompozitor narodnykh pesen. Moscow: Kushnerev, 1899. [Mikhail Vysotsky, the Russian virtuoso guitarist and composer of folk songs.] Semenyuk, Alla. “Russian Editions of Works by Michal Kleofas Ogiński in the Holdings of the Russian State Library,” Fontes Artis Musicae 52 (2005) 135-8. Schurov, Viacheslav. “Nesimmitrichnye ritmicheskie struktury v russkoi narodnoi pesne" (“Non-symmetrical Rhytmic Structures in Russian Folksong”) in Problemy kompozitsii narodnoi pesni (Problems of Composition in Folk Songs), Moscow: Moscow Conservatoire (1997) 4-32. Shteinpress, Boris. Stranitsy iz zhizni A. A. Aliabieva. Moscow: Muzgiz, 1956. [Pages from Alexander Aliabiev’s Life.] Sparr, Kenneth. “Barthelemy Trille Labarre, ‘Professeur de Guitare et Compositeur, Elève d’Haydn,’ biography and catalogue of
works,” The Lute 56 (2016) 1-129. Stakhovich, Mikhail. Ocherk istorii semistrunnoi gitary. Moskvitianin IV (1854) 1-17 and V (1855) 226-238. (“Essay on the History of the Seven-String Guitar.”) (A complete annotated translation is included in this book as Appendix I) Staël-Holstein, Baroness de. Ten Years’ Exile, or Memoirs of That Interesting Period of the Life of Baroness de Staël-Holstein, London: Treuttel and Würtz, 1821.
464 Select Bibliography Stolpiansky, Piotr. Muzyka i muzitsirovanie v starom Peterburge. Leningrad: Muzyka, 1989. [Music and music-making in old St. Petersburg.] Scherbakova, Taisiia. Tsyganskoe muzykal'noe ispolnitel'stvo i tvorchestvo v Rossit. Moscow: Muzyka, 1984. [The Gypsy musical performance in Russia.] Stählin, Jakob. “Stählins Nachrichten von der Musik in Russland՝՝ in Μ. Haigold, Beilagen zum neuveränderten Russland, Riga: Harstknoch, 1770. Stenstadvold, Erik. “Long or short? The appoggiatura in early nineteenth century guitar tradition with special reference to the music of Femando Sor,” Early Music 46/1 (2018) 87-10. —. “The Evolution of Guitar Notation, 1750-1830,” GFA Soundboard 32/23,2006, 11-30. Summerfield, Maurice. The Classical Guitar: Its Evolution and Its Players Since 1800. Newcastle-upon-Tyne: Ashley Mark Pub. Co., 1992. Taruskin, Richard. Defining Russia Musically: Historical and Hermeneutical Essays. Princeton: Princeton University Press, 1997. —. "How the Acorn Took Root: A Tale of Russia.” 19th Century Music 6 (1983) 189-212. —. Opera and Drama in Russia as Preached and Practiced in the 1860s. Ann Arbor: UMI Research Press, 1981. Timofeyev, Oleg. “The Golden Age of the Russian Guitar: Repertoire, Performance Practice, and Social Function of Seven-String Guitar Music, 1800-1850,” unpub. Ph. D. Dissertation, Duke U., 1999. Timofeyev, Oleg and Fedor Kondenko. The Art of Russian Gypsy Guitar. Anaheim Hills: Centerstream, 2018. —. “The Russian Seven-String Guitar ca. 1800: Organology and Search for Origins,” Gitarre und Zister: Bauweise, Spieltechnik
und Geschichte bis 1800. Verlag Janos Sekovics (2004) 229-246. —. “Russkaia semistrunnaia gitara: Proiskhozhdenie, instrumenty, i muzykal’noe nasledie,՝՝ in the Russian translation of James Westbrook’s The Century That Shaped The Guitar, Moscow: Klassika-21 (2012) 196-213. (“The Russian Seven-String Guitar: Origins, Surviving Instruments, and Musical Heritage.”)
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 465 Toporov, Vladimir. "Peterburg i peterburgskii tekst russkoi literatury. (Vvedenie v temu). ” In Mif. Ritual. Simvol. Obraz. Issledovaniia v oblasti mifopoeticheskogo. Moskva: Progress, 1995. (“Petersburg and the Petersburg text of Russian literature.”) Turian, Marietta. Strannaia moia sud’ba. Moscow: Kniga, 1991. (“My Fate is Strange,” a monograph on Prince Vladimir Odoevsky.”) Travin, Leonty, Zapiski. Pskov: Robin, 1994. [Memoirs.] Tsukkerman, Viktor. Kamarinskaia Glinki i eio traditsii v russkoi muzykę. Moscow: Gosudarstvennoe muzykal'noe izdatel'stvo, 1957. [Glinka's Kamarinskaia and its Traditions in Russian music.] Turgenev, Ivan. “Chasy: rasskaz starika” in Sobrante sochinenii [Collected Works], Berlin: Slovo, 1921,190-248. (“A Pocket Watch: An Old Man’s Story”) Tyler, James. The Early Guitar. A History and Handbook. Oxford: Oxford University Press, 1980. Venuti, Lawrence. Translator’s Invisibility: A History of Translation. London: Routledge, 1995. Vol'man, Boris. Gitara v Rossii. Leningrad: Gosudarstvennoe Muzykal'noe Izdatel'stvo, 1961. [Guitar in Russia.] —. Russkie pechatnye noty 18go veka. Leningrad: Gosudarstvennoe Muzykal'noe Izdatel'stvo, 1957. [Russian musical publications of the 18th century.] —. Russkie pechatnye noty 19go—nahala 20go veka. Leningrad: Muzyka, 1970. [Russian musical publications of the 19th—early 20th centuries.] Wójcicki, Kazimierz Władysław. Warszawa ijéj społeczność w początkach naszego stulecia, Warszawa: 1874-1876. [Warsaw and Its
Community at the Beginning of Our Century.] Yablokov, Mikhail. Klassiheskaia gitara v Rossii i SSSR. Biografiheskii muzykalino-literaturnyi slovar'-spravohnik russkikh i sovetskikh deiatelei gitary. Tyumen: Russkaia Entsiklopediia, 1992. [Classical guitar in Russia and USSR. Biographical musico-literary dictionary handbook of Russian and Soviet guitarists.] (Throughout my book I refer to this source as “Yablokov [page number]”.)
Glossary of Names Aksionov, Semion (1782-1853), first-rate guitarist and guitar composer of semi-noble origin. Alexandrov, Nikolai (18187-84?), high-ranking military officer (colonel?) and a guitar composer fl. ca. 1860. Alexeyev, Konstantin (fl. ca. 1830), student of Μ. Vysotsky and the publisher of the latter’s compositions. Alferiev, Vasily (fl. ca. 1800-30), guitar composer and arranger. Batov, Ivan (1767-1841), the earliest significant violin and guitar builder in Russia. Beloshein, Pavel (1799-1869), virtuoso guitar player who studied with both A. Sychra and Μ. Vysotsky. Glinka, Mikhail (1804-57), the greatest Russian composer of the first half of the 19th centuiy. Gornostaieff, I[van?] (fl. ca. 1810), guitar composer. Grigoriev, Apollon ( 1822-64), poet, amateur guitarist, specialist in RussianRomani folklore. Hanff, Johann, German composer and the author of one of the earliest methods for the seven-string guitar (1805). Held, Ignaz von (1764-1816), Czech-born officer of Polish army, and the author of the earliest method for the seven-string guitar in Russia, an active publisher of guitar, piano, vocal, choral, and orchestral piano music. Kamensky, Jozef (fl. ca. 1800), Polish guitarist and music teacher. Khandoshkin, Ivan (1747-1804), Ukrainian by birth, historically the first virtuoso violinist at the Russian Imperial Court. Kushenov-Dmitrievsky, Dmitry (ca. 1772-1835), one of the most active guitar composers and publishers in Russia. Kushenov-Dmitrievsky, Fedor (d. 1812), the father of Dmitry KushenovDmitrievsky, a virtuoso gusli player and composer. Ladyzhensky,
Pavel (fl. ca. 1830-40), landlord from Tula, composer, guitar and balalaika player.
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 467 Liakhov, Ivan (1813-77), virtuoso guitarist and a student of both Μ. Vysotsky and A. Sychra. Lvov, Vladimir (fl. ca. 1800), a Count with considerable musical talent, a guitar composer and student of J. Kamensky. Makarov, Nikolai (1810-90), Russian officer, performer on and composer for the six-string guitar, philologist. Morkov, Vladimir (1801-64), guitar teacher and composer of noble origin. Orekhov, Sergei (1935-98), an outstanding seven-string guitar virtuoso and composer. Rachinsky, Gavriil (1777-1843), Ukrainian-born violin virtuoso. Rusanov, Valerian (1866-1918), guitar teacher and historian. Sarenko, Vasily (1841-81), medical doctor and guitar composer. Stakhovich, Mikhail (1820-58), poet and specialist in horse breeding, the author of the first history of the seven-string guitar in Russia (1854). Svintsov, Vasily (fl. ca. 1825-70), virtuoso guitarist and a student of A. Sychra. Sychra, Andrei (1733-1850), Russified Czech who became the Patriarch of the Russian seven-string guitar school; the most productive of all nineteenth-century seven-string guitarists in Russia. Vetrov, Alexander (d. 1877), medical doctor, guitar virtuoso, and an original composer for the seven-string guitar. Vsevolzhsky, Vsevolod (1769-1836), arguably the richest person in Russia of the time, aristocrat, merchant, and entrepreneur. Vysotsky, Mikhail (1791-1837), manumitted serf, seven-string guitar composer and improviser, who developed his own style of composing for his instrument. Yakubovsky,
I[van?], author of musical “memoirs,” published in 1835. Zimmerman, Fedor (1806-82), landlord from Tambov region, an owner of a stud farm, and a legendary guitarist and improvisor.
Index Aksionov, Semion 70, 71, 86, 94, 103, 104, 110, 112, 119, 121125, 135, 148, 149, 152, 159, 164, 183, 185,216-287, 289, 291,292, 297, 303, 304,316, 317, 321,323, 332, 340, 341, 349, 352, 353, 374, 380, 394, 397, 401,416,418- 425, 433, 436-438, 441, 444, 446-449, 451,457, 466 Alexandrov, Nikolai 43, 123, 130, 137, 353, 354, 356, 359, 364, 392, 407^115,448, 466 Alexeyev, Konstantin 301-303, 309, 310, 321,326,466 Alferiev, Vasily 103, 119,168,182184, 215, 234,251,274, 305, 465 Bandura 80, 84-86, 89, 90 Batov, Ivan 54 Beloshein, Pavel 277, 299, 301, 303,346, 381,386,387, 388, 389, 436, 447, 466 Campanella, see “Harp effect” Convex (“crowned) fingerboard 56, 61,62 Detachable (adjustable) neck 57, 59, 60, 62 English guitar 14, 16-21,23,24,31, 46,51, 108, 123, 131,274 Glinka, Mikhail 68, 123, 125, 151, 158, 169, 171, 172, 175, 176, 195-197,215, 244, 251,339, 350,391,411,440, 442, 443 Gornostaieff, I[van?] 103, 304, 305, 466 Grigoriev, Apollon 87, 342, 350, 352, 393, 437, 460, 466 Gusli 2, 17, 72, 77, 80-85, 111, 140, 240, 269, 270, 273, 466 Gut strings 17, 23, 27, 46, 47, 49, 56, 61, 128, 274, 275 Hanff, Johann 47-49, 51, 69, 86, 261,270, 274, 321,466 Harp 12, 46, 50, 72-78, 80, 103, 107, 112, 116, 153,207,417 Harp effect (campanella) 69, 72, 76, 95, 144, 146, 149, 160-162, 174, 191, 192,201-203,207,237, 316, 319,320, 340,414,456,457 Held, Ignaz von 15-17, 20-27, 39, 44, 48,51,52, 76,81, 114, 117, 118, 120, 159, 185, 226, 252, 263,271-276, 278, 321,353, 450, 451,466 Kamensky, Jozef 26-35, 37, 43, 44, 51,52, 78, 166,353,361,407, 466 Khandoshkin, Ivan 267-270, 420, 440, 466
Kobza 84-86 Kushenov-Dmitrievsky, Dmitry 47, ΊΊ, 81-84, 120, 159, 168,238, 270, 273, 274, 275, 321,407, 466 Kushenov-Dmitrievsky, Fedor 82, 83, 269, 270, 273, 466 Ladyzhensky, Pavel 404-408, 466 Liakhov, Ivan 301, 351, 366, 382389,419, 436, 437, 444-446, 447, 467 Lvov, Vladimir 27, 32-36, 44, 67, 166, 193, 353, 407, 467 Makarov, Nikolai 127, 404-406, 408, 461,467 Morkov, Vladimir 43, 64, 65, 106, 123, 125, 130, 158, 164, 167, 194-198,215, 324, 351-354, 359-367,380,381,383,387,
The Seven-String Guitar in Russia: Its Origins, Repertoire, and Performance Practice, 1800-1850 419,423, 437, 442-447, 451,467 Orekhov, Sergei 288, 289, 302, 311, 373, 467 Protiazhnaia/protiazhnye 36, 67, 68, 170, 173, 261, 326, 428 Polish guitar 123 Quart Guitar 63-65, 126, 164, 196199,209,215, 274,353,360, 361,378,386,387,389 Rachinsky, Gavriil 270, 419, 420, 431,440, 448,467 Roma (“Gypsies”) 90, 231, 232, 289, 337-348, 397 Romans (genre) 68, 71, 88, 98, 99, 167,232,313,327, 340,353, 383,391,397,412, 445,446 Rusanov, Valerian xvi-xviii, xx, xxiii, 26, 51, 113, 127, 162-164, 166, 205,217, 232-237, 243245, 250, 251,254,290-292, 297-299, 301,302, 321,330, 359,368, 373, 375,378,381, 382, 388, 390, 392, 400, 402404, 463, 467 Sarenko, Vasily 43, 80, 123, 125, 130, 137, 164, 167, 220, 280, 281,285,352, 353, 356, 359, 364, 366-373, 381-383, 392, 415,419, 423,436, 442, 447, 451,454, 458, 460, 467 Schrammelgitarre 65, 217 Stakhovich, Mikhail ix, xii, xv, xvi, xxiii, 50, 51, 112-114, 129, 130, 135, 142, 148, 149, 154, 162, 164, 168, 180, 183, 195, 196, 217, 220-223, 228-232, 234, 243, 244, 265-267, 269, 270, 290-295,301,303,308,310, 311,333,334, 337,338, 340, 343, 347, 350-354, 361, 366, 367, 369, 372, 383, 384, 386, 389, 390, 392-398, 414-448, 463,467 Svintsov, Vasily 77, 279, 296, 297, 378, 379, 406, 407, 447, 455, 467 _ Bayerische SbvttebiWkHhek München 469 Sychra, Andrei viii, xix, xi, xii, xv, xvi, xix, xxii, 38-43, 50, 54, 6870, 75-79, 86, 94, 100, 101, 103, 105, 106, 112-183, 185-195, 198-216, 220, 221,229-231, 234, 235, 237, 238, 240-245, 250,251,253,254, 257, 267,
270, 271,274, 276, 278-280, 285,287, 295, 303,310,311, 314-317, 321,323,324, 332, 340, 341, 349, 352, 353, 359361, 363, 366-370, 375, 380, 383,386,388,389, 391,394, 401,405-408,411,415,416425, 427, 428, 430, 433, 434, 436-438, 441-444, 446, 447, 449, 451,466, 467 Terzgitarre 63, 64, 126, 196, 284, 387, 421,442 Torban 84-90, 111, 240, 267, 437, 444 Ukrainian instruments—see Torban, Kobza, and Bandura Vetrov, Alexander xi, xvii, 137, 298,301,351,353,354, 356, 389-405, 407,415,419, 433, 435-438, 445, 446, 451,467 Vsevolzhsky, Vsevolod 223-228, 230, 231,277, 462,467 Vysotsky, Mikhail xi, xv, xvi, xxii, xxiii, 51,76, 79, 86, 94, 100, 101, 106, ПО, 112, 135, 137, 143, 149, 152, 155, 162, 163, 185, 195, 220, 221,229, 235, 243, 257, 266, 278, 279, 286349, 352, 353, 359, 364, 366, 373, 380, 382-385, 388-390, 393,394, 396-399, 401,406, 415,416,418,419,421-448, 451,453-458,463,466, 467 Yakubovsky, I[van?] 356-358, 467 Zimmerman, Fedor xi, xxii, 79, 80, 95, 96, 106, 123, 125, 130, 164, 195,280,351-354,356,359, 361,372-383, 389, 392,416, 419,436-443,445-447,456, 467 |
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| id | DE-604.BV048888271 |
| illustrated | Illustrated |
| index_date | 2024-07-03T21:47:44Z |
| indexdate | 2024-07-10T09:48:55Z |
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| isbn | 9781527592858 |
| language | English |
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| spelling | Timofeyev, Oleg 1963- Verfasser (DE-588)135125979 aut The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 by Oleg Timofeyev Newcastle upon Tyne Cambridge Scholars Publishing 2023 XXIII, 469 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Geschichte 1800-1850 gnd rswk-swf Historische Musikpraxis (DE-588)4197967-9 gnd rswk-swf Gitarrenmusik (DE-588)4021100-9 gnd rswk-swf Gitarre (DE-588)4124933-1 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf Guitar / Russia / History / 19th century Russland (DE-588)4076899-5 g Gitarre (DE-588)4124933-1 s Gitarrenmusik (DE-588)4021100-9 s Historische Musikpraxis (DE-588)4197967-9 s Geschichte 1800-1850 z DE-604 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034152889&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034152889&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034152889&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034152889&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Gemischte Register |
| spellingShingle | Timofeyev, Oleg 1963- The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 Historische Musikpraxis (DE-588)4197967-9 gnd Gitarrenmusik (DE-588)4021100-9 gnd Gitarre (DE-588)4124933-1 gnd |
| subject_GND | (DE-588)4197967-9 (DE-588)4021100-9 (DE-588)4124933-1 (DE-588)4076899-5 |
| title | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 |
| title_auth | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 |
| title_exact_search | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 |
| title_exact_search_txtP | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 |
| title_full | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 by Oleg Timofeyev |
| title_fullStr | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 by Oleg Timofeyev |
| title_full_unstemmed | The seven-string guitar in Russia its origins, repertoire, and performance practice, 1800-1850 by Oleg Timofeyev |
| title_short | The seven-string guitar in Russia |
| title_sort | the seven string guitar in russia its origins repertoire and performance practice 1800 1850 |
| title_sub | its origins, repertoire, and performance practice, 1800-1850 |
| topic | Historische Musikpraxis (DE-588)4197967-9 gnd Gitarrenmusik (DE-588)4021100-9 gnd Gitarre (DE-588)4124933-1 gnd |
| topic_facet | Historische Musikpraxis Gitarrenmusik Gitarre Russland |
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