«Слушай же, Сальери, мой Requiem»: Реквием В.А. Моцарта в культурной жизни России XIX — начала XX веков

Karina I. Zybina

Аннотация


Статья посвящена истории рецепции в дореволюционной России одного из самых известных музыкальных произведений австрийского композитора Вольфганга Амадея Моцарта, его Реквиема KV 626. Основываясь на исследовательских методах, изложенных в работах современных британских музыковедов Саймона Кифе (S. P. Keefe, 2012) и Марка Эвериста (M. Everist, 2012), статья представляет собственную стратегию анализа «российской жизни» этого неоконченного сочинения.

Так, в ней изучаются печатные издания этой композиции, предназначенные для распространения на российском рынке (например, снабженный русским переводом А. Майкова клавир, изданный в Санкт-Петербурге), концертные программы, иллюстрирующие процесс интеграции этого сочинения в российскую концертную жизнь (прежде всего, программы концертов Санкт-Петербургского Филармонического Общества), литературно-критические статьи и исследования, отсылающие как к моцартовскому оригиналу, так и к его новейшим публикациям или интерпретациям (среди прочего, издание монографии А. Улыбышева с комментариями Г. Лароша), а также авторские музыкальные композиции, включающие в себя отрывки из моцартовской партитуры (в первую очередь, так называемые ‘драматические сцены’ «Моцарт и Сальери», написанные в 1897 году Н.А. Римским-Корсаковым).

Рассматривая рецепцию Реквиема Моцарта с самых разных сторон, статья создает объемный портрет «российской жизни» неоконченного шедевра великого австрийца и показывает постепенное изменение его звукового облика и смысловой нагрузки в России того времени.


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Литература


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