Author: Сусидко Ирина Петровна

“…SUPPORT IS EVERYWHERE”. An interview with Irina P. Susidko

Abstract: Irina P. Susidko, Full Professor, Doctor of Art Studies, Head of the Analytical Musicology Department at the Gnesin Russian Academy of Music, is one of the leading musicologists in Russia. She is a Chair of the Academy’s Dissertation Council. She supervises graduate theses and doctoral dissertations. She also leads a range of international research projects: an online journal Contemporary Musicology and two regular conferences— Opera in Musical Theater: History and Present Time and Musical Composition. Musical Composition was initiated by professors of the Analytical Musicology Department. The conference focuses on current issues in studying music, its internal canons, the development history of its idiom and material, as well as state of the art in the technique of musical composition. The goal of the research forum Opera in Musical Theater is to explore opera as a synthetic phenomenon in all its multiple dimensions: music, poetry and literature, scenography, vocal performance, and the director’s vision. In her interview, Irina Susidko spoke about the conferences taking place in 2021 and new opportunities that opened up for the Academy due to its victory in the “Priority 2030” program. Download the article

COUNTERPOINT BATTLES IN THE 18TH CENTURY NAPLES: AN ATTEMPT OF HISTORICAL RECONSTRUCTION

Abstract: The article examines an underscrutinised polyphonic tradition formed in the 18th century Naples. This period is often associated with the heyday of Naples opera. Its development was driven by the opening of four conservatories, which produced highly qualified composers and singers. The 18th century opera of Italian composers stands high on the research agenda in the history of music, however, the unique counterpoint tradition formed within the Neapolitan conservatories is still in oblivion. The mid-18th century witnessed the emergence of two irreconcilable parties: the Leists (followers of Leonardo Leo) and the Durantists (followers of Francesco Durante). References to the century-long struggle of two educational schools are found in a range of Italian and European sources. However, they either say nothing about the origins of the conflict or report controversial information. The study of the origins of the conflict that evolved from simple competition to theoretical controversy shows that the main reason for the discord between the Leists and the Durantists was counterpoint—the discipline that completed the course of studying composition in the Neapolitan conservatories. Two different approaches to teaching not only testify to the birth of a unique polyphonic tradition in southern Italy, but also become an expression of a stylistic change in the mid-18th century European music. Download the article

Тезисы Международной научной конференции “Опера в музыкальном театре: история и современность”

Аннотация: Опера в музыкальном театре: история и современность. Тезисы Международной научной конференции, 11–15 ноября 2019 г. / ред.-сост. Н. В. Пилипенко, под ред. И. П. Сусидко / Российская академия музыки имени Гнесиных. — М.: РАМ имени Гнесиных, 2019. — 224 с. Abstract: Opera in Musical Theater: History and Present Time. Abstracts Book of the International Academic Conference, November 11–15, 2019 / ed. by I. Susidko, N. Pilipenko / Gnessins Russian Academy of Music. — Moscow: Gnessins Russian Academy of Music, 2019. — 224 p. Скачать тезисы

Оперы К.В. Глюка: о технике пародии и заимствованиях в музыкальном театре XVIII века

Аннотация: В статье рассмотрен феномен повторного использования музыкального материала в операх XVIII века на примере творчества К.В. Глюка. В центре внимания находятся две проблемы:
1) «самоцитирование» в сочинениях Глюка, т.е. перенос из оперы в оперу музыкальных номеров и их фрагментов; 2) влияние музыки Глюка на композиторов его времени. Данные проблемы исследуются на примере ряда опер Глюка – «Аэций» (1750), «Милосердие Тита» (1752), «Антигон» (1756), «Орфей и Эвридика» (1762), «Ифигения в Тавриде» (1779), версия «Орфея и Эвридики» Глюка, созданной И.К. Бахом (1774), «Орфей и Эвридика» Ф. Бертони (1776). Сделан вывод о том, что техника пародии в операх Глюка представлена разнообразно: от приемов контрафактуры до существенных переработок, при этом материал из опер seria, перенесенный в реформаторские музыкальные драмы, органично вписывался в новую музыкально-драматическую концепцию. «Орфей и Эвридика» Глюка/Баха представляет одно из редких в истории музыкального театра явлений, когда пастиччо превращается, фактически, в острый эстетический диалог, обозначая одну из переломных граней в развитии оперного жанра.