Eighteenth-century Russian MusicAshgate Publishing, Ltd., 2006 - 388 sivua Little is known outside of Russia about the nation's musical heritage prior to the nineteenth century. Western scholarship has tended to the view that the history of Russian music did not begin until the end of the eighteenth century. Marina Ritzarev's work shows this interpretation to be misguided. Starting from an examination of the rich legacy of Russian music up to 1700, she explores the development of music over the course of the eighteenth century, a period of especially intense Westernization and secularization. The book focuses on what is characteristic and crucial to Russian music during this period, rather than seeking to provide a comprehensive survey. The musical culture of the time is discussed against the rich background of social, political and cultural life, tying together many of the phenomena that used to be viewed separately. The book highlights the importance of previously marginalized sectors - serf culture, choral sacred culture, the contribution of foreign musicians, the significant influence of Freemasonry, the role of Ukrainian and West-European cultures and so on - as well as casting new light on the well-researched topic of Russian opera. leading eighteenth-century Russian composers, Maxim Berezovsky and Dmitry Bortniansky, are provided, as well as those of the serf composer Stepan Degtyarev and the Italian Giuseppe Sarti. The book places eighteenth-century Russian music on the European map, and will be of particular importance for the study of European musical cultures remote from such centres as Italy, Germany-Austria and France. Eighteenth-century Russian music is organically linked with its past and future and its contributory role in forming the Russian national identity and developing the Russian idiom is clarified. |
Sisältö
Rethinking EighteenthCentury Russian Music | 1 |
PrePetrine Legacy | 21 |
Between Germans and Italians | 35 |
4 | 47 |
At the Court of Grand Duke Peter Fedorovich | 65 |
The Thaw of the 1760s | 79 |
Berezovsky and Bortniansky in Italy | 109 |
The City in the 1770s | 139 |
Bortniansky and the 1780s | 155 |
The Late EighteenthCentury Russian Salon | 183 |
Sarti in Russia | 215 |
376 | |
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Adagio Alexander Alexey anonymous appeared arias became Berezovsky Bortniansky Bozhe cantata Cappella Catherine Catherine II chant choral concertos church collection composer compositions Count Count Orlov Court Cappella Court Choir Degtyarev Dmitry Dolgoruky edition eighteenth eighteenth-century Russian Empress European Example Findeizen folklore Galuppi genre GMMK Gospodi Grand Duke harmonic Imperial court instruments Italian Italy Ivan kanty kapellmeister Khandoshkin khorovykh dukhovnykh kontsertov Kiev known Kozlovsky later libretto Lvov Lvov's Maria Fedorovna melodic mentioned Moscow MPES musicians Muzyka Nikolai nineteenth century opera seria orchestra Orlov otverzhi Paisiello partes-singing Pashkevich Pavel performed pesnya Peter Fedorovich piano polonaise polyphonic popular Potemkin Prince Prince Potemkin probably published repertoire RGIA Rossiyskaya roubles Russian music Sarti Sbornik khorovykh dukhovnykh score secular serf Sheremetev singers singing skomorokhi solo sonatas spiritual concertos spiritual music St Petersburg St Petersburg collection Stählin style theatre tradition Ukraine Ukrainian Vedel Wanzhura written wrote Yelagin его