ISSN 2308-1333
New Issue
Issue 2026 №3 (55)
Loseva Olga V.
On the First Publication of E. V. Nazaykinsky’s Memoirs
Nazaikinsky Evgeny V.
From the Book “Memory”
Semova Anastasiya S., Kyuregyan Tatyana S.
On Discussions About Finales in Robert Schumann’s Instrumental Cycles
Glivinsky Valery V.
I. F. Stravinsky’s Polymorphism
Shafranov Evgeniy M., Guryeva Nataliya V.
Singing Instructions in the Menologion of the Pontifical of the Assumption Cathedral in the Moscow Kremlin
Grigorjeva Veronika Yu.
Time and Space in the Opekalovskaya Sepulchral Sticheron “Come to please Joseph”
Imamutdinova Zilia A.
Stylistic Stratifications in the Tradition of Melodized Reading of the Qur’an Among the Ural-Volga Muslim Turks
Gerzmava Hibla L.
The Tradition of the “Singing Actor” Theatre and Its Continuation in Hibla Gerzmava’s Opera Workshop
Hermann of Reichenau. Music (Introduction and commented translation by J. V. Moskva) P. 2
Abstract
The article is a continuation of the publication of the Latin treatise “Musica” by the medieval scientist, poet and composer Hermann from Reichenau (Hermannus Contractus, 1013– 1054) in a parallel translation into Russian, performed for the first time. The published fragment contains the doctrine of the species of intervals, as well as the doctrine of the eight Modes. The sequel will follow in the next issues of the journal.
Key words
Wind instruments of the pre-romantic orchestra (based on Othon Vandenbroeck’s “The main treatise on all wind instruments for composers”)
Abstract
The article analyzes the organological aspects of the late classical orchestra. The author also provides brief descriptions of the structural variations of wind instruments of this period. Among the many wind instrument models that emerged in the late 18th century, the treatise describes those that remained in musical practice throughout the first quarter of the 19th century.
Keywords
Othon Vanderbroeck, 18th -century orchestra, brass instruments, orchestration history
For citation
Opera and Revolution: «Ruslan and Lyudmila» at the Mariinsky Theatre in November 1917
Abstract
The article is devoted to the play «Ruslan and Lyudmila», shown on the stage of the Mariinsky Theatre on November 27, 1917. The performance was timed to coincide with the 75th anniversary of the first production and was distinguished by its outstanding artistic significance. However, in the late autumn of 1917, Glinka's fairy-tale opera became deeply involved in the political context. The revolutionary era powerfully asserted itself in the auditorium, on stage, and behind the scenes.
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