✍ Scribed by Marina Ritzarev
No coin nor oath required. For personal study only.
Little is known outside of Russia about the nation's musical heritage prior to the nineteenth century. Western scholarship has tended to view the history of Russian music as not beginning 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. Much new archival material is introduced, and revised biographies of the two 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.
Cover
Half Title
Title Page
Copyright Page
Contents
List of Figures and Tables
List of Music Examples
Preface
Acknowledgements
Note on Abbreviations, Transliteration and Dates
1 Rethinking Eighteenth-Century Russian Music
Historiography in the nineteenth and twentieth Centuries
The Complexity of russian identity
Two Capitals
2 Pre-Petrine Legacy
Folklore
The rise and Fall of Skomorokhi Culture
Seeking an Art-Music Tradition (Seventeenth Century)
Religious Chant
Kanty and Psalmy
Ukrainization
Instrumental Music
Music in the theatre
3 Toward the New Russian Idiom: Between Germans and Italians; Between Italians and Russians
Peter the great – Pro-german and Anti-italian
Empress Anna – Pro-Italian
Araja in the 1740s
Gregory Teplov and russian song
Kirill Razumovsky and Russian Opera
Semen Naryshkin and Russian Horn Music
Araja’s rise and Fall in the 1750s
4 At the Court of Grand Duke Peter Fedorovich
Vincenzo Manfredini at the Oranienbaum Court
Maxim Berezovsky’s Early Career
5 The ‘Thaw’ of the 1760s
Manfredini in the 1760s
Baldassare galuppi
Berezovsky: Choral Work of the 1760s
Liturgy
Berezovsky Leaves for Italy
The Young Dmitry Bortniansky
6 Lessons of the 1770s: Berezovsky and Bortniansky in Italy
Bortniansky’s Missions
Berezovsky’s Studies
Tommaso Traetta at the russian Court
Bortniansky’s Ordeal by Opera
The Moral of Berezovsky
Bortniansky’s Redemption
7 The City in the 1770s
Paisiello at the russian Court
From Song to Song-Opera
8 Bortniansky and the 1780s
Bortniansky’s Return to Russia
Bortniansky’s Concertos of the 1780s
Bortniansky at the Young Court
9 The Late Eighteenth-Century Russian Salon
Foreign Virtuosi
Ivan Khandoshkin and the Rus’ian Idiom
At the Lvov house or the temple of rus’ian idiom
The Eighteenth-Century russian idiom: Policy, Perception, Proofs
10 Sarti in Russia
Sarti and Prince Potemkin
Cimarosa’s russian Episode
Sarti returns to st Petersburg
sheremetev and sarti
Back to the Imperial Court
Russian spiritual Compositions
11 1790s: Muses and Cannons
The Polonaise: Polish honour and russian Empire
Marseillaise and russian Monarchs
Russian Freemasonry and Music
12 Master and Serf
At the Court of Count sheremetev
Stepan Anikeevich Degtyarev
Degtyarev’s Pseudonyms
Serf-Freelancer
Degtyarev’s Choral Music: aesthetics and style
Early Concertos
Late Concertos
Redactions
13 The Choral Concerto in the 1790s
Artemy vedel
Bortniansky’s 1790s Concertos
14 Bortniansky in the Nineteenth Century
Repertoire
Public Life
Family
Bortniansky and the Nineteenth Century
Bibliography
Index
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