Articoli di riviste sul tema "Russian etude"

The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus, with the increase in the content features of art-concert studies, new features such as programming and integration with other genres were observed in Russian music. Interest in piano in Azerbaijan in the late 19th and early 20th centuries first appeared in aristocratic strata, but gradually spread to a wider area. The development of the art of performing on the piano also influenced the creativity of the composer an gave impetus to the formation of the national repertoire for this instrument. Although the etude genre in the works of Azerbaijani composers is not common in the works of European and Russian composers, there are important examples only in the early stages of the formation of miniatures. Azerbaijani composers E.Nazirova, F.Guliyeva, A.Azizov, A.Abbasov, Niyazi, J.Hajiyev, R.Shafag, Kh.Mirzezadeh and others managed to create interesting examples of this genre. One of the main features of the analysis of Azerbaijani somposers etudes is that these examples are pioneered for educational purposes. For this reason, some of the studies we analyzed (M.Mirzayev, J.Hajiyev etc.) are aimed at the first stage of music education with its small volume and simple structure. Studies of relatively large artistic and technical complexity (E.Nazirova,Niyazi,F.Guliyeva) are suitable for the upper classes of music schools. Although the evolution of the study genre and the features of its various genres are not embodied in these works with the splendour seen in the works of European and Russian composers, Azerbaijan is an interesting example of piano music in its educational repertoire. As a result, we can say that the etude genre is not a special development stage in the works of Azerbaijani composers, but each of the existing examples is important in the formation of the aesthetic tastes of young pianists, musical performances on a national basis, and it is successfully applied in the educational repertoire.

The paper offers a number of problems connected with specificity and comparative characteristics of manorial records — surveys and court rolls of medieval England. Manorial surveys as a basic type of records include various data concerning lands, tenements, and rents of English peasants, entry fines, heriots, enclosures, different social types of peasantry, etc. A number of them have been thoroughly researched by Russian historians, while manorial court rolls haven’t been yet researched enough. Manorial court rolls if compared with manorial surveys, are sources of another type. They represent everyday life of English medieval peasantry, including its legal aspects as well as crucial role of manorial custom in the relations between peasants and manorial lords; order of manorial courts’ work and their types; crimes and punishments in the manors; borrowings from the system of Common law (e.g. the Jury), etc. Manorial court rolls have been substantially researched in England and in the USA by both historians and legal scholars. This article also deals with the problem of interpretation of numeric and legal “languages” of manorial records.

This article considers the contribution of pre-revolutionary artists of the Russian Empire to the study of the local history of Kazakhstan. It is known that the lands and Kazakh population of Western, Northern, Eastern and Southern Kazakhstan found their worthy reflection in the paintings of famous artists. So, for example, the sacred monuments of the Mangyshlak Peninsula, the plain of Ustyurt, the northern Aral Sea and the Caspian Sea were deoicted in the paintings and sketches of the great Ukrainian poet and playwright T.G. Shevchenko (1814–1864). He was exiled for ten years in Kazakhstan (1847–1857) in the Orenburg steppes, in the fortress of Orsk, and then in the Novopetrovsk fortification on the Mangyshlak Peninsula and on the banks of the Caspian Sea. His participation in the work of two expeditions of Aral (1848–1849) and Karatau facilitated the creation of several paintings and graphic works of landscapes, which have a direct relation to the study of local lore and life of the Kazakhs. Original albums and sketches of the Tomsk artist P.M. Kosharov (1824– 1902) depicting types of architecture, the material culture of Western Siberia and Northern Kazakhstan are also of note. Participating in an expedition of P.P. Semenov-Tyan-Shansky to Zhetysu in 1852–1857, he managed to issue the early documentary image of Verny, mineral source Kapal-Arasan, etc. The Southern Kazakhstan and Zhetysu found the reflection in V.V. Vereshchagin's sketches (1842–1904), who was the authorof the pictures «Turkestan Series» (1871–1874), and the illustrated books «Turkestan. The etude from nature» (1874), «Essays, sketches, memoirs» (1883). A similar contribution to the subject under consideration was made by the member of the Turkestan circle of lovers of archaeology, founder of the Semirechensky department of the Russian Geographical Society N.G. Khludov (1850–1935). He created a set of realistic art paintings devoted to Zhetysu and Zailijsky Alatau. Thus, the article shows the contribution of the above-mentioned pre-revolutionary artists to the development of the subject posed by us.

Various distant outskirts of Russia very often followed a specific path in their development, in no way resembling the culture of the Central Russia. One of such areas, where special cultural and natural environments existed, was the southern province located in the Delta of the Volga River – the Astrakhan province. Early in the Middle Ages this territory became a part of highly developed and powerful states – the Khazar Khaganate, the Golden Horde, and the Astrakhan Khanate were situated here. It was during this period that the main alimentary complex of the region was formed, which was a combination of the three main household types: cattle-breeding, fishing, and agriculture. This complex has survived to a large extent until the present day. The annexation of the Astrakhan Khanate by Russia in 1556 did little to change this configuration. The native inhabitants of these regions returned to their usual occupation, while the newly arrived peoples followed the same industries that had been familiar to them in their former homeland: gardening, fishing, or cattle breeding. The multinational character of the region's population led to a flexible system of economic relations and complementarity. As a result, there was an active cultural interchange between all the peoples of the region, which also influenced the alimentary landscape (foodscape). The history of this foodscape can be divided into three major periods, which differ from each other in the specifics of their character. They are largely dependent on socio-political changes in Russia as a whole, which also stimulated serious cultural and social shifts in the region. This article is devoted mainly to the analysis of the formation of the first period of the alimentary landscape in the region. It lasted from the accession of the Astrakhan khanate to the First World War and the October Revolution of 1917.

Goal. To characterize the resistance of spring wheat varieties of different ecological and geographical origin against natural infectious backgrounds of the main pathogens of leaf diseases typical for the zone of the Right-Bank Forest-Steppe of Ukraine. Methods. Field — creating provocative backgrounds of pathogens and assessing the resistance of varieties to againts phytopathogens; analytical — analysis of the data obtained, comparison with existing data. Results. In 2020—2021 on 19 varieties of spring wheat from the collection of the National Center for Plant Genetic Resources of Ukraine, Institute of Plant Industry. V. Ya. Yuriev NAAS, an assessment of resistance to againts main leaf pathogens: powdery mildew (Blumeria graminis (DC.) E.O. Speer f. sp. tritici Em. Marchal), leaf rust (Puccinia recondita f. sp. tritici Rob. et Desm. (syn. Puccinia triticina), septoria (Zymoseptoria tritici (Desm.) Quaedvlieg & Crous, 2011 (syn. Septoria tritici Roberge ex Desm.). The collection included varieties of Ukrainian, Russian, Kazakh, Czech and German selection. The assessment of resistance to leaf rust, septoria wheat was carried out against a natural infectious background, and to powdery mildew against an enhanced (provocative) natural infectious background, the period of maximum development of diseases. The cultivars were characterized by the degree of resistance using a 9-point immunological scale. According to the research results, the degree of resistance of varieties to pathogens of leaf diseases was determined: powdery mildew + leaf rust + wheat septoria — Anshlag (UKR), Voronezhskaya 20, Orenburgskaya 22 and Ekada 97 (RUS); powdery mildew + leaf rust — Elegiya Mironivska, MIP Solomiya, Struna Mironivska, Etud, Anshlag, Provіntsіalka, Panyanka, Cheremshina (UKR), Voronezhskaya 20, Orenburgskaya 22, Orenburgskaya 23, Pavlograda (RUS); Rakansam, Ramsa, Stepnaya 50, Stepnaya 62 (KAZ), Anabel (CZE), KWS Akvilon (DEU); powdery mildew + septoria — Anshlag (UKR), Orenburgskaya 22, Ekada 97 (RUS). Conclusions. The study of a collection of 19 varieties of spring wheat of different ecological and geographical origin identified a number of varieties with indicators of monospecific and group resistance, which can be used as sources of resistance. In particular, the varieties Anshlag (UKR) and Orenburgskaya 22, Ekada 97 (RUS) with resistance to the group of pathogens of powdery mildew, leaf rust and wheat septoria typical for the Right-Bank Forest-Steppe zone of Ukraine are valuable sources of resistance. It is promising to involve in the breeding process and varieties with a moderate manifestation of resistance to wheat septoria infection against the background of high resistance to pathogens of leaf rust and powdery mildew — Elegiya Mironivska, Struna Mironivska, Etude, Provintsialka, Panyanka, Cheremshina (UKR), Voronezhskaya 20, Orenburgskaya 23 (RUS).

This article is a narrative about application of the USA fodder quality testing system in Russia. Merits and demerits of the American system of an assessment of hay quality are considered. The Leningrad interregional veterinary laboratory (IVL) adapted principles of this system and has extended to all kinds of bulky feeds. It is recommended to check IVL model experimentally, to discuss and to consider on ТК 130 "Fodder production" as the project of GOST Р "Forages. A method of energy value definition". In the second case, on an example of the assessment sheet sent by the American testing laboratory, the ration of feeding a dairy cow at JSC "Dmitrovskie dairy farms", created according to the American model, is considered: assortment, quantity and quality of forages; the actual and demanded content of nutrients in a ration; relative parameters and ratios of nutrients; ration cost indexes. For comparison of standards of National research council (NRC) of the USA on consumption of dry matter, concentration of rumen degradable and nondegradable protein are compared with norms All-Russian Research Animal Husbandry Institute. Discrepancy of calculated parameters testifies to necessity of their experimental corroboration.

A particular aspect of the problem of interference of philosophy and literature is considered. This article reflects the results of the ongoing study of the problem of perception of poetry by E.A. Boratynsky in Russian philosophical thought. For the first time, an analysis of the reception of Baratynsky's lyrics in the works of Archpriest V.V. Zenkovsky and S.L. Frank is presented. The novelty of the study is seen in the fact that the stated problem is considered for the first time. The relevance seems to lie in the interdisciplinary nature of the research being undertaken. Appeal to the method of slow reading allows us to reconstruct two specific examples of the complex process of interaction between Russian literature and philosophy. Particular attention is paid to Zenkovsky's article “Philosophical Motives of Russian Poetry”, as well as Frank's abstracts “The Meaning of Suffering”, “On the Meaning of Suffering in Russian Literature” and his “Etudes on Pushkin”. It is shown that both Zenkovsky and Frank saw in Boratynsky, first of all, a contemporary of A.S. Pushkin, a poet-philosopher who expressed pessimistic ideas in his work. At the same time, unlike Zenkovsky, who tried to define the essence of Boratynsky's lyrics as such, Frank turned to the poet's poems in order to determine the place of Pushkin in Russian poetry and, on the other hand, in order to express the provisions of his own concept of suffering more clearly.

The article presents the results of the phytopathological test and marker analysis of the selection material of winter wheat for resistance to the pathogen of brown rust (Puccinia recondita Rob. ex Desm f. sp. tritici.). The object of research was 10 cultivars of various ecological and geographical origin. Using molecular markers, the studied wheat varieties did not reveal the highly and partially effective genes Lr9, Lr19/Sr25, Lr24/Sr24, Lr41 and Lr47 in Russia, and the ineffective gene Lr20/Sr1. The combination of the Lr34 gene with ineffective genes can provide an increase in the level of field resistance of wheat varieties. In the variety type Leaf 25, the age-related resistance gene Lr37 is assumed to be partially effective in Russia. This type of stability is characterized by a longer latent period, a decrease in the number of pustules per unit leaf surface, their size and the number of spores in the pustule. According to the results of a comprehensive assessment of winter wheat cultivars to brown rust, the following cultivars showed a stable reaction type (R): Zhiva (Lr1, Lr3, Lr10, Lr26, Lr34) and Leaf 25 (Lr1, Lr3, Lr37;); a susceptible reaction type (S) in Malvina cultivars -(Lr1, Lr26;), Solara (Lr1, Lr34), Etude - Lr3. Genes in various combinations can provide field resistance of winter wheat to brown rust. Most cultivars were moderately susceptible to the disease.

One of the most crucial tasks for educating the beginner musician is the development of his artistic imagination. A decisive role in this process is played by the formation of the musicians’ attitudes towards the skills of interaction of their relationship with the composer’s music: the creation of the performer’s text, i.e., its interpretation (the problematic situation “If I were the editor…”), or its transcription or arrangement (“I wish to become a composer”). The solution of the indicated aims (which, essentially, relate to the musicians’ inventiveness) and the participation in the problem situations becomes manageable even for especially gifted students only upon the condition of a correctly elaborated technology of interaction with the musical text. Such experience is well-known in Russia and in other countries, specimens of assignments and tutorial manuals directed at the possibility of application of innovational technologies in work with beginner pianists have been developed. In this article the author offers to instructors of fl ute performance her technology of work on unfolding the primary authorial musical text on the basis of horizontal and vertical dialogue expounded in E.G. Shcherbakova’s textbook “Neskuchnye etyudy” [“Diverting Etudes”] in her piano class.

Ферруччо Бузони в эссе «Шопен: каким его вижу» («Chopin: Eine Ansicht über ihn») предложил оригинальную концепцию творчества польского композитора. Главным качеством, определившим своеобразие шопеновского стиля, Бузони считает «der Halbheit» - половинчатость, двойственность, противоречивость, свойственные личности Шопена. Это качество, по мнению Бузони, проявляется на уровнях замысла и формы, традиций и новаторства; сказывается в непоследовательности драматургии произведений и в стиле фортепианного изложения. Наиболее ценными в творчестве Шопена Бузони считает сочинения, лишенные этой «половинчатости», - серию этюдов, прелюдии и несколько ноктюрнов. Перевод эссе дополнен подробным комментарием, дающим представление об идейно-художественном контексте создания этого литературного опуса. Охарактеризованы динамика развития эстетических взглядов автора и роль произведений Шопена в исполнительском искусстве Бузони. Прослеживается влияние его идей на музыкальное исполнительство XX столетия. The essay “Chopin: An Insight into Him” (“Chopin: Eine Ansicht über ihn”) by Ferruccio Busoni consist an original concept of the Polish composer’s work. The main quality that determined the originality of Chopin’s style, Busoni considers “der Halbheit” - halfness, duality, contradiction, characteristic of Chopin’s personality. This quality, according to Busoni, manifests itself at the levels of intention and objectification, tradition and innovation; is reflected in the inconsistency of the dramaturgy of his works and in the style of the piano texture. Busoni considers the most valuable in Chopin’s work to be works devoid of this “halfness”- a series of etudes, some of preludes and several nocturnes. The translation of the essay is supplemented with extensive commentary giving an idea of the intellectual and artistic context of the creation of this literary opus. The view on the development of the author’s aesthetic opinions and on the role of Chopin’s works in Busoni’s performing art is presented. The influence of his ideas on the 20th century musical performance is traced.

The author presents an analytical review of the exhibition dedicated to the 90th anniversary of the birth of the Honored Artist of Russia, Honored Artist of the RSFSR Kim Koval. The article describes the creative path of the painter, the specifics of his artistic method. The exposition presents 52 paintings of the 1950–1990s from the collection of the Primorye State Art Gallery and the collection of the artist's family. The exhibition shows etudes for some of the works of K. Koval, the location of which is currently unknown. Автор представляет аналитический обзор выставки, посвященной 90-летию со дня рождения заслуженного деятеля искусств России, заслуженного художника РСФСР Кима Петровича Коваля. В статье изложен творческий путь живописца, описана специфика его художественного метода. В экспозиции представлено 52 живописные работы 1950–1990-х годов из собрания Приморской государственной картинной галереи и коллекции семьи художника, в том числе этюды к некоторым произведениям, местонахождение которых на данный момент неизвестно.

In this article I compare the informal exchange of favours, goods and information in St. Petersburg and Helsinki. The study is part of a larger international comparative research project coordinated by the Ecole des Hautes Etudes en Sciences Sociales, Paris. This text is based on data collected in the two cities during 1993 - 94: Forty secondary school teachers in St. Petersburg and thirty-eight in Helsinki kept a diary of their important social relations for two weeks. Each evening during this period they recorded their significant social encounters of the day in structured questionnaires; eg. whom they met and what they did or discussed together. After the two weeks, they added to the diaries persons whom they had not encountered during the study period but whom they nevertheless considered as significant for their social life. In addition, a complementary theme interview concentrating on their life course was carried out. Clear differences were found between the informal exchange practices of Russian and Finnish respondents. Compared to their Finnish colleagues, Russian teachers exchanged more favours, goods and important information. Moreover, the content of the informal exchange in St. Petersburg was both of a different nature and more diverse than in Helsinki; cases abounded of Russian respondents having to use their relatives, friends, colleagues or acquaintances in order to obtain informally products or different kinds of services (eg. medical care). Similarly, half of the Russian respondents reported blat exchanges - a particular Soviet/post-Soviet phenomenon of arranging things through informal connections, and a practice not found in the Finnish data. The informal exchanges reported in the St. Petersburg data were more often carried out with colleagues or other work-mediated relations, thereby stressing the importance of the Russian workplace as a social milieu. In the Russian data the informal exchange relations also involved more examples of informal exchange mediated by a third person, whereas in Helsinki the relations were more of a dyadic nature. The results support the view proposed by previous research according to which informal exchange and patterns of behavior inherited from the socialist era still continue to influence the transition society. The continuing lack of trust in official institutions and social services was compensated for by our Russian respondents with the use of their personal relations. The trust necessary for informal exchanges to take place was guaranteed either through the use of brokers or a common social context, particularly the workplace. The resulting forms of social life can be characterized as personalized (since abstract and therefore replacable relations were turned into personal and unique ones) and mediated (since the brokers were often used). Though changing in forms and functions, the networks of personal relations still continue to play a significant role in the life of post-Soviet citizens.

The Shevchenko Scientific Society Archives in New York houses the correspondence between Ukrainian jurist Lev Okinshevych and various figures of science, culture, and politics. Among them are letters from the famous lawyer and historian of law Andrii Yakovliv, whose life in the postwar years is mostly unknown. We can partially fill those gaps using the eight letters from Yakovliv to Okinshevych, written in 1947-1949. After leaving his job at the Ukrainian Free University (UVU) in Prague, Andrii Yakovliv moved to the part of Germany occupied by the Western Allies, worked at the Ukrainian Technical and Economic Institute in Regensburg, and maintained ties with UVU, where he received the honorary doctorate in 1947. He later moved to his family in Belgium, gave lectures to Ukrainian students at the Catholic University of Louvain and was actively involved in research. Among other things, at this time, Yakovliv was engaged in arranging papers of Viacheslav Prokopovych and preparing for publication his unfinished book The Seal of Little Russia: Sphragistic Etudes, which was published in 1954 as a separate volume of Memoirs of the Shevchenko Scientific Society. In parallel, the scholar prepared for publication his monograph Ukrainian Code of 1743 “Rights on which the Little Russian people are judged,” its history, sources, and systematic presentation of content, took an active part in preparing the section “Law” for the Encyclopedia of Ukrainian Studies, worked on Memories, or The Tale of the Bygone Years of My Life. Besides sharing the academic interests, Yakovliv and Okinshevych had quite a friendly relationship. In his letters, Yakovlev discussed his scholarly plans, the publication of his research, the work of Ukrainian educational and research institutions in exile, as well as issues related to the work on the Encyclopedia of Ukrainian Studies, and the problems of his family’s relocation to the United States. This correspondence sheds light on the last stage of Yakovlev’s life in Europe, his activities and relations with colleagues during this period. From these letters, we learn many interesting details about the private and academic relations of the scholar with many members of the Ukrainian scholars’ emigration group, about the circumstances of founding and activity of Ukrainian scientific institutions in Western Europe, about the fate of the Ukrainian Museum in Prague. This epistolary heritage is of exceptional value not only for the study of the intellectual biography of Andrii Yakovliv but also for the prosopographical study of the Ukrainian scientific emigration of the 1940s and 1950s.

Интерес к изучению систем, содержащих сульфиды формулой АIВIIIСVI2, обусловлен, прежде всего, открывающимися возможностями их практического использования в изготовлении нелинейных оптических приборов, детекторов, солнечных батарей, фотодиодов, люминофоров и др. Поэтому в связи с поиском новых перспективных материаловна основе тиогаллата серебра и железа целью этой работы является исследование квазибинарного разреза FeGa2S4–AgGaS2 четырехкомпонентной системы Fe–Ag–Ga–S.Синтез сплавов системы AgGaS2–FeGa2S4 проводили из лигатур с использованием высокой чистоты: железа – 99.995 %, галлия – 99.999 %, серебра – 99.99 % и серы – 99.99 %. Исследование сплавов проводили методами дифференциально-термического, рентгенофазового, микроструктурного анализов, а также измерением микротвердости и определениемплотности.Методами физико-химического анализа впервые изучена и построена Т-x фазовая диаграмма разреза AgGaS2–FeGa2S4, который является внутренним сечением квазитройной системы FeS–Ga2S3–Ag2S. Установлено, что система относится к простому эвтектическому типу. Состав эвтектической точки: 56 мол. % FeGa2S4 и Т = 1100 К. На основе исходных компонентов были определены области твердых растворов. Растворимость на основе FeGa2S4 и AgGaS2 при эвтектической температуре достигает до 10 и 16 мол. % соответственно. С уменьшением температуры твердые растворы сужаются и при комнатной температуре составляют на основе тиогаллата железа (FeGa2S4) 4 мол. % AgGaS2,а на основе тиогаллата серебра (AgGaS2) 11 мол. % FeGa2S4. ЛИТЕРАТУРА 1. Zhаo B., Zhu S., Li Z., Yu F., Zhu X., Gao D. Growth of AgGaS2 single crystal by descending cruciblewith rotation method and observation of properties. Chinese Sci. Bull. 2001; 46(23): 2009–2013. DOI:https://doi.org/10.1007/BF029019182. Горюнова Н. А. Сложные алмазоподобные полупроводники. М.: Сов. радио; 1968. 215 с.3. Абрикосов Н. Х., Шелимова Л. Е. Полупроводниковые материалы на основе соединений АIVBVI..М.:Наука; 1975. 195 с.4. Kushwaha A. 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The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Goldenweiser and wrote these scientific works under the guidance of the prominent pianist. An important part of these scientific works is devoted to the study of A. Arensky’s piano creative activity. Here, the musician touched upon the features of the composer’s piano performing, as well as the characteristic features of his music. The research also provides performing characteristics of the works analyzed and covering various genres. The purpose of the research is to study the fundamental results and main performing principles in the scientific works dedicated to A. Arensky’s piano creative work by Nigar Usubova, a brilliant representative of the Azerbaijani piano school of the twentieth century. In these scientific research works, N. Usubova touched upon the features of the prominent composer’s piano creative work, performing principles, circle of images; moreover, analyzed the form, genre, tone and other aspects and conducted research on the background of characteristic features of Russian music. We would like to bring to your attention that N. Usubova’s scientific works have not been published. This raises the scientific significance and relevance of the topic more. These scientific works are the first research work dedicated to the study of A. Arensky’s piano music in the Azerbaijani science of music. The research methodology is based on analytical and theoretical analysis, as well as on the source research method (work with archival materials). The main principle is the study and analysis of the fundamental results obtained by N. Usubova in the study of piano music by A. Arensky The scientific novelty of the research is that for the first time the scientific works of the outstanding pianist Nigyar Usubov are studied, their scientific significance, as well as the issues reflected in those works, are revealed. We would like to bring to your attention that these scientific works reflect N. Usubova’s method of approach to A. Arensky’s piano pieces as a pianist. For this reason, these scientific works are a valuable recommendation for every pianist who turns to A. Arensky’s piano creative work. Conclusions. Nigar Usubova is the author of two scientific works and her scientific creative activity is devoted to the definition of performing features of A. Arensky’s piano creative work. Each of these scientific-methodical works was written under the guidance of a prominent representative of the Russian piano school, pedagogue A. Goldenweiser. In these works, N. Usubova worked on A. Arensky’s creative work in a comprehensive and detailed way. According to the author, A. Arensky’s piano creative work is characterized by the clarity of form and texture, the richness of melodic material, which brings him closer to Tchaikovsky’s chamber music. Although the composer prefers miniature forms in his piano creative work, it is also possible to find virtuoso pieces, etudes, scherzos and capriccios. These works, in particular, influenced the formation of S. Rakhmaninov’s and A. Scriabin’s creative activity. The main characteristic features here are polyphonism, polymelodism and polyrhythmics of the piano texture. Simultaneously, N. Usubova thoroughly studied the influence of Western European composers on the formation of A. Arensky’s creative activity.

The article is about the little-known murals in St. Alexander Nevsky Cathedral in Paris (1859– 1861, architect R.I. Kuzmin), painted by Alexander Yegorovich Beideman (1826–1869). The scientific novelty of the results obtained is in the fact that for the first time A. Beideman’s religious works from the Parisian cycle are introduced and placed into scientific circulation. This cycle is master’s most significant preserved religious work and unique in the Orthodox ecclesiastical art of Western Europe of the second half of the 19th century. Although such brilliant masters as E.S. Sorokin, P.S. Sorokin, M.N. Vasilyev and F.A. Bronnikov worked on the creation of the polychrome ensemble of the Parisian cathedral together with Beideman, his murals in Paris became one of the first in the academic period of Russian ecclesiastical art, in which the transition to the traditions of Byzantine iconography was manifested. Beideman painted eighteen images in the lower part of the temple and on the pillars. Images of Our Lady of Akhtyr with St. Mary Magdalene and St. John are in the niche to the left of the central apse; the Deesis with the Virgin and St. John the Baptist is in the niche to the right of the central apse. Images of Christ the Great Bishop, St. Jacob the Apostle, St. John Chrysostom, St. Basil the Great and St. Gregory the Theologian are in the central apse. Images of St. Mitrofan of Voronezh and St. Joseph the Songwriter are in the sacristy. The image of New Testament Trinity is in the conch. Images of Metropolitans of Moscow Peter, Alexius, Jonah, and Philip are on the pillars below the evangelists. The artist avoided a bright palette, working mainly in the ocher-silver gamma, which, along with the frontality and pronounced statics, gave a sense of “incorporeity” to the figures of the saints. The closeness to the traditional iconography was given by the monumental architectonics of the flowing robes and the almost iconographic austerity of the faces. But, nevertheless, there is a big difference in the style solution of Beideman’s paintings in the Parisian cathedral compare to his easel and monumental works of different years. Especially comparing to Beideman’s watercolor etudes for the murals in the Holy Cross Exaltation Church in Livadiya (architect I.A. Monighetti) and St. Olga church of in Mikhailovka near Strelna (architect D.I. Grimm). The author of the article comes to the conclusion, based on the field research materials, his own restoration and research experience and the comparison of Beideman’s surviving works, in particular, in Livadiya, that the painting in the Parisian cathedral could have been somewhat modified over time. But the artist’s conscious stylistic manner is also possible. The chronology of Beideman’s creative path, the exact period of his work in Paris, has been clarified in comparison with the period of his work in the Livadiya church in Crimea.

Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Saëns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Saëns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim of the paper, the following practical tasks have been solved: 1) lay down the requirements for a pianist when performing C. Saint-Saëns’s pianoforte cycles; 2) determine the artist’s most performed solo pianoforte works nowadays (namely the cycles). The methodological basis of the research is a comprehensive approach based on the unity of historical biographical, genre-style and performance research methods that emphasize the importance of the piano work of a unique French artist for modern generations of performers. The results of the research. The analysis of the performances of young C. Saint-Saëns has become obvious that at the beginning of his performance career, he was far from the traditional image of a pianist-virtuoso typical for the first half of the 19th century and has represented the model of a pianist-interpreter of classical music pieces, according to new cultural tendencies. In the middle of the 1860s C. Saint-Saëns shifted his genre-style priorities in his concert performance and widened the geography of his audience outside France to Germany, England and Russia. The French virtuoso improved his repertoire by performing the works of contemporary composers. However, the tendency towards romantic repertoire did not prevent him from including of J.-Ph. Rameau’s and J. S. Bach’s works into his concert program. Beginning from the 1890s to the end of C. Saint-Saëns’s performance career (1921), his own works made the basis of his concert programs also. Having systematized of C. Saint-Saëns’s repertoire, four performance preferences have been distinguished: 1) interest in the works of Baroque composers and French national culture of pre-classical period; 2) returning to Viennese classicists as the basis of a pianist’s concert repertoire in the new historical era; 3) having romanticists’ works serving as the example of modern performer’s repertoire in the second half of the 19th century; 4) producing his own music pieces and transcriptions. Based on summarizing the repertoire preferences, in terms of their stylistics and the increase in the significance of the historical interpretation of other composers’ works, which can be traced in C. Saint-Saëns’s statements and recommendations, it has been concluded that at the beginning of the 20th century his performance style corresponded to the one typical for new post-romantic performers – “interpreters-generalists” (according to O. Kandynskyi-Rybnikov, 1991). The comparison of C. Saint-Saëns’s solo concert programs of different years and the genre and style orientation of the piano compositions created by him in the corresponding periods shows a noticeable interconnection of two major areas of his creative activity – concert and composing. In his early period, he interpreted, as a pianist, mainly the classical music pieces (especially Beethoven’s). And his own Op. 3, Bagatelli, was created under the influence of the Viennese classicism music. In his mature period (starting from the middle of the 1860s), which was connected with C. Saint-Saëns’s concert tours outside France and the enrichment of his repertoire with the works by F. List, F. Chopin, F. Mendelssohn, R. Schumann, there was a shift of the composer’s genre and style priorities: he composed the concert etudes of the Op. 52, program pieces of the Album Op. 72. Finally, in his late period (from the 1890s), except for his own music pieces, the basis of C. Saint-Saëns’s concert programs consists of the works of classicists. At those times, his Suite Oр. 90, Six Etudes op. 135 for left hand and Six Fugues Op. 61 were created, which shows the author’s interest in the genre models of European Baroque. The fundamental principles of C. Saint-Saëns’s pianoforte mentality has been distinguished: virtuosity and simultaneous accuracy of applying expressive means; clarity and accuracy of instrument sound together with the delicacy and flexible manner of intoning; in terms of the interpretation of historically remote composers’ pieces (pre-classical, classical and early-romantic periods), the attempts to approximate the tone to the authentic sound pattern. Taking into account the composer’s performance style and the tasks set in the score of his works, the requirements for a pianists needed for the interpretation of C. Saint-Saëns’s pianoforte cycles have been laid down: high level of performance technical preparation; analytical skills, wide kit of mental sound patterns that integrates the features of various historical and style eras, from Baroque to PostRomanticizm. As for the panorama of the interpretative versions of C. Saint-Saëns’s piano works, every cycle has quite rich performance history, which is proved by numerous professional recordings. Over the last decade, more and more recordings of C. Saint-Saëns’s pianoforte cycles have been appearing, which contributes to the popularization of the pianoforte heritage of the French artist. Most of them have been created by French pianists. However, the geography of the recordings is quite wide: Italy, the USA, Switzerland, Hungary, Austria, Russia, Germany. Unfortunately, in Ukraine the piano cycles are almost unknown and are rarely performed; there are no known audio recordings of their performance by outstanding Ukrainian pianists. Conclusion. In search of a starting point in mastering the principles of interpretation of French piano culture, the study of the creative activity by C. Saint-Saëns today has advantages over the study of other French composers of the mid XIX – early XX century, because there is a large amount of material available that reveals its artistic, in particular performing, priorities. All the above indicates the need to popularize the piano heritage of C. Saint-Saens in the modern globalized world and proves the importance of an interpretological approach to its understanding. The latter reveals the essence of the piano style of a unique artist who, in his creative evolution, has gone from classicromantic attitudes to examples of his own nео-stylistic thinking, which dominates the art of the twentieth century.

Franz Liszt originally planned to write 24 studies in all keys, but he completed only twelve, the famous Etudes d’exécution transcendante (1851). However, half a century later the Russian Sergey Lyapunov (1859–1924) fulfilled Liszt’s abandoned project by composing 12 Etudes d’exécution transcendante (Op. 11) in the sharp keys not utilized by Liszt. The main objective of this article is to examine two highly interesting features in Lyapunov’s transcendental studies that have been only sporadically touched upon in previous Western and Russian research: 1. Modal harmony, or more precisely the usage of the diatonic (church) modes, which is an element that is almost entirely absent from Liszt’s studies; 2.The musical topics, which are considerably closer to the aesthetics of the Balakirev circle and their followers (Lyadov, early Glazunov) than to Liszt’s transcendental studies. In a short Epilogue the author somewhat problematizes Lyapunov’s standing as an epigonal composer, stating that, apart from a couple of Balakirev’s and Tchaikovsky’s piano pieces, hardly any other Russian composer before Skryabin and Rachmaninoff composed solo piano music with such harmonic and textural richness and idiomatic and virtuosic pianism as Lyapunov achieves in his transcendental studies.

Особое место в научном наследии Всеволода Федоровича Миллера занимает работа над составлением осетинско-русско-немецкого словаря. Издание словаря в 3‑х томах со- стоялось уже после смерти ученого в 1927‑1934 гг. Этому событию предшествовал долгий кропотливый труд, в который был вовлечен большой творческий коллектив едино- мышленников из представителей осетинской интеллигенции. Публикуемые выдержки из переписки Миллера и Г. В. Баева дают ясное представление о проделанной работе. Письма, охватывающие период с 1891 г. по 1908 г., извлечены из фондов Российского государственного архива литературы и искусства (РГАЛИ) и Научного архива СОИГСИ. Подборка материалов из переписки позволяет проследить ход работы над «Осетинско-русско-немецким словарем» в указанное время, выяснить участие в его составлении Г. В. Баева, И. Т. Собиева, У. В. (Цоцко) Амбалова, А. З. Кубалова и др. Несомненный интерес для истории научного осетиноведения имеют сведения, которые Миллер сообщает Баеву. Они свидетельствуют об изменениях, которые вносились в структуру словаря, об этапах подготовки его к печати. Ученый подробно инструктировал работавших над словарем: просил обращать внимание на важность записи оригинальных фольклорных текстов, а не переводов; использовать научную транскрипцию из первой части «Осетинских этюдов»; точно обозначать ударения в двухсложных или многосложных словах, выводить правила для ударений в склонениях и спряжениях и т.д. Материалы писем свидетельствуют о научных и организационных проблемах, с которыми сталкивались Миллер и собиратели словарного материала в Осетии. Публикуемые документы позволяют считать переписку Миллера и Баева одним из важных источников по изучению истории создания «Осетинско-русского-немецкого словаря». A special place in the scientific heritage of Vsevolod Fyodorovich Miller is compilation of the Ossetian-Russian-German dictionary. The publication of the dictionary in 3 volumes took place in 1927‑1934 after the death of the scientist himself. This event was preceded by a long and painstaking work, in which a large creative team of like-minded people from the representatives of the Ossetian intelligentsia was involved. Published excerpts from the correspondence between V. F. Miller and G. V. Baev give a clear idea of the work accomplished. The letters covering the period from 1891 to 1908 were extracted from the collections of the Russian State Archive of Literature and Art (RGALI) and the Scientific Archive of SOIGSI. A selection of materials from the correspondence allows to trace the progress of the work on the «Ossetian-Russian-German Dictionary» at the specified time, to clarify the participation in its compilation of G. V. Baev, I. T. Sobiev, U. V. (Tsotsko) Ambalov, A. Z. Kubalov and others. Of special interest for the history of the Ossetian studies is the information V. Miller shared with G. Baev. This testifies to the changes that were introduced into the structure of the dictionary, the stages of its preparation for punlication. The scientist gave detailed instructions to those working on the dictionary: he asked to pay attention to the importance of recording original folklore texts, not translations; use scientific transcription from the first part of the «Ossetian Etudes»; accurately denote stresses in two-syllable or polysyllabic words, deduce rules for accentuations in declensions and conjugations, and so on. The materials of the letters testify to the scientific and organizational problems faced by V. Miller and the compilers of the dictionary in Ossetia. The published documents make it possible to consider the correspondence between V. Miller and G. Baev as one of the important sources for studying the history of the creation of the «Ossetian-Russian-German Dictionary».

В статье характеризуется деятельность Всеволода Федоровича Миллера в культурной жизни Осетии в конце XIX – начале XX в. Публикуемые выдержки из переписки В.Ф. Миллера и Г.В. Баева охватывают период с 1895 г. по 1911 г. и содержат важную информацию по различным аспектам культурного развития Осетии в обозначенное время. Показаны работы Миллера, в которых опубликованы фольклорные тексты на дигорском диалекте осетинского языка, записанные осетинскими собирателями. Отмечена поддержка Миллером Общества распространения образования и технических сведений среди горцев Терской области и Осетинского издательского общества «Ир». Обращено внимание на просьбы Баева, адресованные Миллеру по поводу отливки нового шрифта для издания книг на осетинском языке, получения напрокат клише книгоиздательства «Товарищества И.Д. Сытина и К», содействия в скорейшем утверждении проекта по строительству здания Горско-Пушкинского общежития для детей горцев. Особо отмечена поддержка Миллером многих культурных начинаний в Осетии: выхода в свет сборника стихотворений К.Л. Хетагурова «Ирон фæндыр», издания книг и газет на осетинском языке, переиздания Святого Евангелия на осетинском языке, создания Осетинского издательского общества «Ир». Охарактеризована консультативная помощь Миллера при подготовке Баевым осетинско-русского букваря. Отмечена высокая характеристика, данная Миллером К.Л. Хетагурову. Показано значение для культурной жизни присылки ученым в Осетию 40 экземпляров «Осетинских этюдов». Сделан вывод о том, что переписка Миллера и Баева является важным источником для характеристики деятельности ученого в сфере культуры Осетии. Публикуемые документы извлечены из фондов Российского государственного архива литературы и искусства (РГАЛИ) и Научного архива СОИГСИ. The article discusses the theme of the participation of Vsevolod Fedorovich Miller in the cultural life of Ossetia in the late XIX - early XXth century. Published excerpts from V.F. Miller and G.V. Baev cover the period from 1895 to 1911 and contain important information on various aspects of the cultural development of Ossetia at the reviewed period. The works of Miller with published folklore texts in the Digor dialect of the Ossetian language, recorded by Ossetian collectors, are being presented. The support of Miller of the Society for the Distribution of Education and Technical Information among the Highlanders of the Terek Region and the Ossetian Publishing Society "Ir" is highlighted. The requests of Baev to Miller about the cost of casting a new font for publishing books in the Ossetian language, renting a cliché of a book publishing company, “I.D. Sytin and Co.”, assistance in the speedy approval of the project for the construction of the building of the Gorsko-Pushkin hostel for children of highlanders. Attention is drawn to the support Miller provided for many cultural undertakings in Ossetia: the publication of a collection of poems by K. Khetagurov "Iron Fandyr", publishing books and newspapers in the Ossetian language, reprinting the Holy Gospel in the Ossetian language, creating the Ossetian publishing society "Ir". The advisory assistance of Miller to Bayev in preparing Ossetian-Russian ABC book is referred to. The high estimation of Miller to Khetagurov is discussed. The importance for the cultural life of sending 40 copies of Ossetian Etudes to scientists in Ossetia is shown. The conclusion is made that the correspondence of Miller and Baev is an important source in the study of the participation of a scientist in the cultural life of Ossetia. The published documents are extracted from the funds of the Russian State Archive of Literature and Art (RGALI) and the Scientific Archive of the North Ossetian Institute for Humanitarian and Social Studies.