Artykuły w czasopismach na temat „Russian elegy”

The article is devoted to the examination of elegy features and elegy mode of artistry in Russian and Tatar poetry of 70-80s XX century. The actual basis of the research is formed by A. Kushners poems, modern Russian poet and Robert Akhmetzyanov, known Tatar lyric of the XX century. It is stated that elegy was not included in the circle of traditional Tatar poetry genres (wider - oriental), its genetic roots are bound with other forms like marsiya. The author comes to the conclusion, that poetic cycle Kozge elegiyalar (Autumn elegies) by Rob. Akhmetzyanov fully depicts the identity of Tatar artistic consciousness, its literary identity, reflecting in its ability to correlate its deep experiences with poem form and with its architectonic principles. The comparative analysis has shown that subjective and objective in Rob. Akhmetzyanovs elegies exist in a different, less expressive form of contradiction than in the Russian elegy tradition, which is marked by the connection of the Tatar poets artistic way of thinking with folk poetry. Particularly, in the lyrical cycle the author resorts to paired images, like ike alma (two apples), which also appear in the Tatar song. The research proved that Rob.Akhmetzyanovs creativity can be considered as catalyst of elegy in the national literature of the XX century: elegy form and its techniques contributed to the genre recognizability, more than that, elegy became the field of representation of the avant-garde spirit of the Tatar authors creativity. In the A.Kushners poetry elegy and idyllic interact in the same lyrical plot, thus transforming the stable features of the genres mentioned and their modality (Ukhodit leto (The summers leaving), Mne kazhetsya (It seems to me) etc.

Abstract Vasily Zhukovsky’s 1802 translation of Thomas Gray’s Elegy Written in a Country Churchyard, highly acclaimed in its time and since regarded as a crucial document for the study of Russian Romanticism, offers the reader of Gray an original but compelling approach to his most famous poem. Although generally faithful to the form and style of the English, Zhukovsky’s version nevertheless forecloses some possibilities of Gray’s poetic argument while creating others. By darkening the descriptive texture of the elegy, adding two crucial stanzas that weigh the significance of graveyard memorials, and reconceiving the figure of the narrator in relation to his environment, Zhukovsky concentrates the force of Gray’s most universal concerns. This is especially evident in the stanzas that reflect on the “frail memorial” to the village dead. Dispensing altogether with Gray’s “unlettered muse” and “rustic moralist,” Zhukovsky applies the moral of the gravestone to the reader: “we must learn to die.” Whereas this passage in Gray’s poem distinguishes the villagers, identified with what is “uncouth,” “unlettered,” and “rustic,” the corresponding passage in translation represses the distinguishing marks of rusticity, assimilates the argument of the stanzas to the general human condition, and thus concludes by invoking the collective pronoun. This passage in turn anticipates the epitaph, which is cast in strikingly Biblical language: the passersby are asked to pray over the grave of one now removed from all earthly anxiety, of one who has left behind all that within him is sinful, of one whose hope now is in his savior God. Zhukovsky thus transforms the grave from a “dread abode” into a place of refuge and establishes through his translation of Gray a model for Russian elegiac poetry. Résumé La traduction du poeme de Th omas Gray, Elegie ecrite dans un cimetiere de campagne, faite par Vassily Zhukovsky en 1802, unanimement saluee en son temps et depuis lors consideree comme un texte primordial a l’etude du romantisme russe, offre au lecteur de Gray une approche a la fois originale et attirante pour la lecture de son plus celebre poeme. Bien que generalement fidele et a la forme et au style originel, la version de Zhukovsky saisit neanmoins certaines nuances du debat poetique de Gray tout en en creant d’autres. En voilant la structure descriptive, en ajoutant deux strophes essentielles qui renforcent la signification des monuments funeraires, et en recreant le personnage du narrateur en fonction de son environnement, Zhukovsky concentre la puissance des preoccupations les plus repandues chez Gray. Cela est tout particulierement evident dans les strophes dont la reflection porte sur les fragiles monuments aux morts du village. Zhukovsky, rendant superflu la muse illettree et le moraliste rustique de Gray, applique la morale de la pierre tombale au lecteur: il nous faut apprendre a mourir. Tandis que ce passage particulier du poeme de Gray caracterise les villageois, les identifiant par ce qui est rude, illettre, et rustique, le passage qui lui correspond dans la traduction assimile l’argument des strophes a la condition humaine en general, concluant ainsi par l’invocation du pronom collectif. Ce passage precede a son tour l’epitaphe redige dans une langue etonnamment biblique: les passants sont invites a prier sur la tombe de celui qui est dorenavant depourvu de toute angoisse terrestre, de celui qui laissa derriere lui tout ce qui, en lui, etait peche, et dont l’espoir desormais reside dans son Dieu Sauveur. Zhukovsky transforme ainsi la tombe d’une demeure redoutable en un lieu de refuge et cree, par le biais de sa traduction du poeme de Gray, un modele pour la poesie elegiaque russe.

The research focuses on the translation of Musset’s elegy “Lucie,” never published during A. A. Fet’s lifetime. The research is devoted to the clarification of the Russian poet’s translation skills and the analysis of the self-worth of his work. Of interest is the question of the time of work on the translation and the reasons for refusing to publish it. Directly influenced by A. de Lamartine, the elegy represents the “new lyricism.” The lyrical hero embodies his grief over the death of his first love, almost a girl, in melancholic musical verses. Another discovery was a new attitude to nature, to which the poet confides his melancholic feelings. The landscape turns out to be his best and closest companion. The structure of the elegy is characterized by repeated complaints; the first and final stanzas coincide. Fet revises the text and reduces some prolixities and divagations to achieve a more natural intimacy. Apparently, he worked on Musset’s elegy in the 1850s, when he found his own poetic language. In general, he managed to improve the text of Musset in some way, to clear the elegy of unnecessary digressions, long notes. As a result of a kind of competition, he creates a poetic masterpiece that is not inferior to the original.

Through the prism of Gavriil Derzhavin's 1797 poem “Razvaliny” (Ruins), Luba Golburt explores two concurrent developments in Russian cultural history: the fragmentation of Catherine the Great's overwhelming legacy after her death in 1796 and the contemporaneous weakening of the classicist genre system, which gave rise to such hybrid genres as the historical elegy. In its temporal polyvalence, the historical elegy bears great resemblance to the ruin, a semi-preserved historical artifact, which in the late Enlightenment/early Romantic period becomes the central image for experiencing history. Derzhavin's poem appropriately enacts historical recollection in a place overpopulated by ruins and pregnant with memories of recent history, Tsarskoe Selo. Drawing on a wide variety of sources, the essay tracks the emergence of this summer estate as the central locus memorii in Russian poetry and disentangles the intertwining threads of textual and pictorial representation in Derzhavin's work.

One of the mysteries of Joseph Brodsky's biography was that, even as Petersburg continued to haunt many of Brodsky's writings of exile, the poet himself did not return to his native city after being exiled in 1972. In this article, Andrew Reynolds explores the notion of the “Petersburg text” as it applies to Brodsky's work and reveals Brodsky's deep ambivalence toward the kenoticism central to many readings of the “Petersburg text” and the “Russian idea” itself. The article argues that Brodsky's “last” poem, “August,” is both an attempt to exorcise and, ultimately, an acceptance of the fatidic patterns which seem to make a “return to Petersburg” inevitable in art if not in life. The poem is both an elegy for a (still living?) tradition and a self-elegy, and represents Brodsky's final recognition that he is Aleksandr Pushkin's successor in more ways than one: the strongest Russian poets always die “in January,” irrespective of which month or season becomes one's “fate.“

Vasilij Zhukovskij’s Sel’skoe kladbische, a translation of Thomas Gray’s Elegy Written in a Country Churchyard, occupies a special place in Russian literary history. First published in 1802, it was so widely imitated by later Russian poets that it came to be regarded as a “landmark of Russian literature”, not only at a boundary between two cultures (English and Russian) but also at a boundary within Russian culture itself — the transition from Neoclassical to Romantic aesthetics. Zhukovskij’s translation of Gray can be read as the end result of a long process of personal education in the sign system of Sentimentalism, in both its European and its Russian variants, which then reproduced itself in an impersonal way within his culture as a whole. Zhukovskij did not merely reinscribe Gray’s poem into Russian. Rather, he used it to deploy the developing Russian Sentimentalist (Karamzinist) style within a wide range of lyric registers, thereby providing models for other Russian lyric poets. In this sense, his work exemplifies Juri Lotman’s dictum that “the elementary act of thinking is translation” — it made it possible for Russian poets to think within an entirely new, though by no means foreign system of signs.

Статья посвящена сопоставительному исследованию жанра элегии и элегизма как самостоятельного модуса художественности в русской и татарской поэзии XIX-начала XX вв. в свете категории времени. Установлено, что элегия не вошла в круг канонических и неканонических жанров татарской литературы начала XX века, что значительно усложняет исходную ситуацию сопоставления национальных литератур. Сделан вывод о том, что исторически русская элегия существовала в художественном пространстве времени, в ее содержании особое звучание имел мотив переживания лирическим субъектом настоящего момента бытия в ценностном свете прошлого (В.И. Козлов, О.В. Зырянов, В.Э. Вацуро, М.Л. Гаспаров). Исследования ученых-востоковедов (Г.Э. Грюнебаум, Л. Масиньон, А.М. Шиммель) показали, что время в сознании восточного поэта как будто стремиться «оставаться на месте»; время здесь не линейное в своей протяженности, оно не определяется различиями границ прошлого, настоящего и будущего. Напротив, в нем особое место уделялось переживанию мгновений, причем не всегда расположенных в необратимой последовательности. Сделан вывод о том, что татарское художественное сознание, испытавшее воздействие традиций литератур Востока, имеет сходные черты мировосприятия, что в значительной мере обусловило уникальность пути становления элегического жанра в национальной литературе. Фактическую основу работы составил сопоставительный анализ элегии А.С. Пушкина «Прощанье» (1830) и стихотворения Дэрдменда «Әгәр барсаң, саба җил, безнең илгә» («Ветер утренний, если летишь в нашу сторону…»). Установлено, что произведение Дэрдменда отличается тонким элегическим звучанием. Последнее можно рассматривать как особый тип художественности, на основе которого возник диалог русской классики и татарской литературы в аспекте ценностной категории времени и ее важнейших художественных свойств. The article is devoted to the comparative study of the elegy genre and elegism as an independent mode of artistic expression in Russian and Tatar poetry of the XIX - early XX centuries in the aspect of tense. It is stated that elegy was not included in the field of canonical and non canonical genres of Tatar literature of the early XXth century and this causes some problems in the original situation of national literary comparison. It is concluded that historically Russian elegy existed in artistic sphere of tense and the motive of the lyric character’s experience of current moment in an aspect of value had a specific sound in its content (V.I. Kozlov, O.V. Zyryanov, V.E. Vatsuro, M.L. Gasparov). The orientalists’ studies (G.E. Griunebaum, L.Masinyon, A.M. Shimmel) showed that tense in the conscience of the oriental poet tends to “stop”; time here is not linear in its length, it is not marked by the differences of the past, present and future. In the contrary, special attention was paid to the experience of moments, not always arranged in an inversible sequence. The author comes to the conclusion that Tatar artistic mentality experienced the influence of oriental literature has similar features in worldview which determines the uniqueness of the way the elegiac genre formed in the national literature. The actual basis of the work is comparative analysis of A.S.Pushkin’s elegy “Farewell” (1830) and poems by Derdmend «Әgәr barsaң, saba җil, bezneң ilgә» (“If you go, morning wind, to our land”). It is stated that poem by Derdmend differs by its subtle elegiac sound. The latter can be viewed as a special type of artistry which serves as the basis for the dialogue of Russian classics and Tatar literature in the aspect of time value category and its most important artistic features.

In the present article J. Brodsky’s poetry is analyzed in the context of a particular elegiac tradition associated with some key figures of English-language poetry of the mid-to-late 20th century. These are W.B. Yeats, T.S. Eliot, W.H. Auden and S. Heaney. The aim of the article is to examine the continuity of the 20th century English poetry by the example of a sequence of dedication poems (elegies), in which each subsequent poem alludes to the previous one(s). The comparative method allows us not only to show the features of modern English-language poetry (for instance, the link between elegiac mood and reflection on the purpose of poetry), but also to analyze the influence of poets’ interpersonal contacts on their works. Special emphasis is put on J. Brodsky’s poetry as it may seem extraneous to the English-language tradition in question. The analysis of Brodsky’s personal and creative biography, his particular dedication poems and essays allows us to find the links between the Russian poet and the literary tradition of Great Britain, Ireland and the USA.

Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.

The article analyses Mykhailo Minchakevych’s poems “Satire”, “Rozsvit”, “Roksolana”, “Separation”, dumka “Cross stone near Lyubchych”, love elegy “Dumka” from the manuscript collection The Son of Rus (1995), with the focus on the poetics of romanticism and imagery. The author compares the themes and motives in Mykhailo Minchakevych’s poetry with those of other Romanticists (Markiyan Shashkevich, Mykola Petrenko). The poetics of Minchakevych’s works was incluenced by the writing of Markiyan Shashkevych and other Galician authors; however, it demonstrates the similarities with East Ukrainian literature of the first half of the 19th century as well as European Romanticism. Mykhailo Minchakevych uses the so-called “word complexes” (D. Chyzhevsky), inherent to Ukrainian Romanticism. His desire to demonstrate the Rusinian great history is manifested in his reminiscences of the time of Kievan Rus and allusions to famous historical figures of the past. Similarly, the poet tries to show the influence of the Rusins on European history by mentioning the ties of blood between the Russian princes and European rulers. The poems “Satire”, “Rozsvit”, “Roksolana” convey the moods of “Russian Trinity” both through motives and imagery, thus revealing the influence of Markiyan Shashkevych. Mykhailo Minchakevych’s poems are also close to folklore, which becomes evident in their motives, composition, and the use of repetitions and onomatopoeia. Minchakevych’s poetry as a component of the “Russian Trinity” phenomenon reflects the processes that took place in the Ukrainian culture in the first half of the 19th century.

Relevance. In the context of improving food security and according to the development strategy of the grain complex of the Russian Federation, crop capacity quality increase of wheat grain remains a priority. It is significant to research winter wheat varieties selected in different geographical selection centres, in specific soil and climatic conditions, in order to identify their genetic potential.Methods. The research was conducted in 2015–2021 in the south-west of the centre of Russia. The object of the research was a set of 12 modern winter wheat varieties cultivated by intensive technology on grey forest soils in the Bryansk region.Results. Due to its genetic potential, each of the varieties has shown its responsiveness to the prevailing weather conditionsue to their geographical origin, there was a significant variation in crop capacity of the varieties Moskovskaya 40, Moskovskaya 56, Mera, Lgovskaya 8, Amelia. The varieties by Belarusian selection showed the maximum average yield (8.41 t/ha). The varieties under study formed coarse grain. However, such varieties as Nemchinovskaya 57, Poem, Elegy, Moskovskaya 56 should be attributed to the most stable ones, characterized by the minimal variation of this descriptor over the years. All varieties of winter wheat, with the exception of Lgovskaya 4 and Lgovskaya 8, formed the grain of the first class by the basal grain-unit. The "year" factor made the greatest contribution to the change in the protein (47.5%) and gluten content (57.5%) in grain. Among the varieties of Belarusian and Russian selection, Amelia (CV = 5.7%) and Moskovskaya 39 (CV = 12.3%) varieties can be distinguished as those forming stable highprotein grain with a high gluten content.

This paper focuses on the history of the poem “Upon The Hills Of Georgia” (1829) published in “Severnye Tsvety” in 1831 under the title “A Fragment”. The published version did not include stanzas from the original drafts, which alluded to memories of a past love. According to the traditional interpretation offered by S. M. Bondi, Pushkin, who in 1831 was soon to be married, did not want to publish lines devoted to another woman. However, in 2004, the Institute of Russian Literature received an autographic manuscript of the poem identical to the published version, but written in the autumn or winter of 1829, at a point when Pushkin as yet had no aspirations to marry Goncharova. The omission of stanzas from the rough copy can be explained not by biographical circumstances but by a change in artistic intention: the poem — originally conceived as an elegy, with typical elegiac motives of memories — later acquires a different generic form, which harkens back to A. Chenierʼs “fragments”, and is closer in its poetics to anthological lyrical poetry and ancient epigrams.

The target of the work is investigating the development of archetypal features of the Russian classical romance in the chamber-vocal S. Rakhmaninov’s creation of early period on the example of romances for the average voice. Vocal miniatures are the kind of lyric diary of the composer, which fully embodies the whole range of characteristic images and feelings. In this sense, romances are the kind of encyclopedia of Rakhmaninov’s creativity: it is impossible to find such wealth and variety of states, perhaps even in his brilliant concerts and symphonies. The methodology of the study is to use the art history, historical and cultural, analytical and comparative typological methods. This methodological campaign allows you to analyze the features of the genres of elegy, Russian song, „gesture romance” and their own interpretation by the composer. The scientific novelty of the work consists in broadening the concept of the imaginative multidimensionality of Rakhmaninov’s vocal miniatures, which is due to the synthesis of various traditions of the national school. Vocal works „contain” a full thematic „spectrumˮ of his musical world. Conclusions. The archetypal features of the Russian classical romance and the origins of vocal lyrics are most evident in the early period of the composerʼs work. Obviously, the scope of the scientific article does not allow paying serious attention to the entire vocal creativity of the author of the Bells, to consider 83 romances in full. Therefore, the work is limited studying of works for medium voice and piano. They fully embody the main genre and style features of Rakhmaninov’s chamber-vocal creativity. The early romances of the composer-lyric poet determine the future development of the chamber-vocal genre, anticipating the innovative treatment of vocal plays.

The article is dedicated to the work of Ivan Klyushnikov, a representative of the reflective poetry of Russian romanticism of the 30s – 40s of the XIX century, to indicate the ideological and artistic originality of his poems. In the article, the author traces the main thematic trends of Klyushnikov’s lyrics, characteristic of romantic poetry of the first half of the XIX century: philosophical, historical, the theme of love, nature, and the destiny of the poet and poetry. According to the author, the main distinguishing feature of Klyushnikov’s poetry is that he, like no other romantic poet, revealed the psychology of the “superfluous man”. Besides, with his fate and his work, he captured the tragedy of young people of that time, striving for good, justice and happiness, but for subjective and objective reasons unable to advance their ideal. The main genre of Klyushnikov's poetic is an elegy, which tonality fully corresponds to the definition of this genre given by Belinsky. Hopeless longing from unfulfilled dreams, failed love, and incomplete life is its dominant motive. His lyrics is a confession of a person who in his development has passed from romantic illusions to the consciousness of his insecurity and failure in all spheres of life. The image of a lyrical hero embodied the features characteristic of the spiritual image of the poet himself, as well as of the whole generation. This is precisely the pathos of the poet’s creativity. Klyushnikov’s poetic legacy is remarkable in reproducing the era and the spiritual world of many thinking people of that time, as well as in presenting deeply personal moods. Thinking about his life, about life in general, about reality – all this, captured in the lyrics, becomes a true and fare reflection of contemporaneity.

The article offers an interpretation of Joseph Brodsky’s poem, rarely used for analysis, “You will return to your homeland. Well...” (1961). If traditionally Brodsky’s elegy in the intertextual aspect is considered as a “dialogue-repulsion” (A. Nesterov) with A. Vertinsky’s romance “Without Women”, then the work reveals other pretexts that at first glance seem alien to Brodsky’s love lyrics — these are texts of patriotic themes by S. Yesenin and M. Tsvetaeva. It is shown that Brodsky’s motive of homecoming is emphatically focused on “The Homecoming” and “The Soviet Russia” by S. Yesenin, in 1924, upon his return from America, formulated a sincere poetic confession in the extreme loneliness he experienced in his homeland (“My poetry is no longer needed here, / And, perhaps, I myself am not needed here either ...”). The prevailing idea of the dissimilarity of the poetry of Brodsky and Yesenin is questioned. The reference text of M. Tsvetaeva is the poem “The Homesickness. A long time ago...” (1934), as shown in the article, which served as an obvious prototype for “You will return to your homeland. Well...” The compositional structure of Tsvetaeva’s pretext with the dominant strategy of “affirmation through negation” determined the poetic organization of Brodsky’s elegy. It is argued that over time, the dialogic interaction of texts was accompanied by emotional and semantic recoding, the non-textual meanings in Brodsky’s poems grew.

The reviewer considers A. Livergant’s biography of P. G. Wodehouse a highly relevant book that succeeds in describing Wodehouse’s optimism and dedication to writing as a source of irrepressible enthusiasm for life even in the darkest of times. The biographer focuses on a carefully reconstructed story of Wodehouse’s radio broadcasts made from a Berlin-based studio as a turning point in the writer’s career that nearly ruined his reputation. This particular incident in the life of Wodehouse enables the author to start a conversation about confounding circumstances that often interfered with people’s lives in that tragic period and questions that do not yield to a simple answer. Livergant discusses various Russian translations of the writer’s novels and helps to form an idea about a ‘Russian’ Wodehouse. He includes a number of his own translations, completing the image of Wodehouse — the book’s protagonist with recognisable qualities of Jeeves and Wooster, and specifying his own standpoint as a biographer.

The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.

В статье предлагается несколько стихотворений русских поэтов на тему моря. Описательный аспект в них пропитан эмоциональными переживаниями авторов. При этом меняющийся вид моря, его богатство световыми и звучными оттенками и переливами нарисованы c высоким поэтическим мастерством, позволяющим ощущать определенный параллелизм между динамикой моря и изме-нениями в душевной жизни человека. Эти романтические стихотворения содержат явные элементы реалистического подхода к действительности, а вместе с тем и некоторые черты, свидетельствую-щие о склонности авторов к трансцендентальности.Элегия Жуковского «Море» (1822) – прекрасный пример олицетворения: море рассматривается как мистическое существо, которое живет, дышит и исполнено тревожной мыслью. Реалистичное изображение моря содержит скрытую аллюзию на переменчивые настроения человеческой души.В стихотворении Пушкина «Погасло дневное светило…» (1820) поэт вспоминает о своей поте-рянной бурной молодости. В его же стихах «К морю» (1824) море как символ абсолютной свободы напоминает судьбы двух великих мужей века: Наполеона и Байрона.В стихотворении «Море и утес» (1848) Тютчев выражает свою веру в миссию России как защит-ника христианства. Помимо аллегорического смысла, мастерство изображения яростных бурь волн против «спокойного и уверенного в себе утеса» предлагает прекрасную параллель с известными морскими картинами Айвазовского. В его стихотворении «Как хорошо ты, о море ночное» (1865) непрерывное движение моря намекает на трансцендентальное. Последние строки этого стихотво-рения говорят о неутолимой скорби поэта, вызванной недавней смертью его возлюбленной. Его же стихи «Волна и дума» (1851) представляют эмблематический символ взгляда поэта на аналогию природы и человеческого духа: наши мысли – это то же непрерывное, тщетное и обманчивое явле-ние как бушующие и отступающие волны моря.Бунин посвятил два стихотворения морю. В одном из них (1895) вид спокойного ночного моря вызывает у наблюдателя восхищенное предчувствие вечной красоты и неземной истины. В другом стихотворении (1897) описание бурного Северного моря напоминает унылое настроение поэта. Па-раллель между этим зрелищем и подавленным состоянием души поэта проявляется в уничижитель-ных семантических тонах эпитетов и предикатов.В стихах Бальмонта «У моря ночью» (1903) вид ночного моря возбуждает у поэта отчаянное ви-дение нависающей смерти.В своем коротком стихотворении (1884) Надсон сравнивает море с мощным органом в величе-ственном соборе, но вместе с тем оно приводит видение кого-то «безумно смеющегося и грозящего».При этом цитированные романтические стихотворения содержат явные элементы реалистиче-ского подхода к действительности, хотя в то же время некоторые их черты свидетельствуют о склон-ности авторов к трансцендентальности.The paper presents a selection of poems about the sea, written by Russian lyric poets in the 19th century. The descriptive aspect in the poems is imbued by the emotional experience and actual mood of the authors. At the same time, the changing sight of the sea, the abundance of its luminous tints and sounding modulations are shown with high poetic mastery suggesting a certain parallel between the dynamism of the sea and the alternating states of the human mind. Parts of the texts indicate the authors’ disposition to transcendence.Zhukovsky’s elegy Море [The Sea] (1822) is a fine example of personification: the poet addresses the sea regarded as a mystical being that lives and breathes, filled with anxious thought. The realistic portrayal of the sea contains a hidden allusion to the changing moods of the human soul.Pushkin’s poem Погасло дневное светило… [The Day Star is Gone] (1820) recalls reminiscences of his lost turbulent youth. In the poem К морю [To the Sea] (1824), the sea as the symbol of absolute freedom reminds of the fates of the two outstanding men of the century, Napoleon and Byron.Tyutchev’s poem Море и утес [The Sea and the Cliff] (1848) pertains to the Western European revolutionary events of 1848. In the form of an allegory, the poet expresses his belief in the mission of Russia as the defender and stronghold of genuine Christianity. Apart from its allegorical sense, the mastery of depicting the furious storms of waves against the “calm and self-confident Cliff ” offers a fine parallel to the well-known maritime paintings of Ayvazovsky. The poem Как хорошо ты, о море ночное [How Fine is You, the Sea at Night] (1865) includes a hint at transcendence in the description of the continually moving sea. The last lines of this poem allude to the unappeasable grief of the poet caused by the recent death of his beloved. The poem Волна и дума [The Wave and the Thought] (1851) is an emblematic symbol of Tyutchev’s view on the parallelism of nature and the human mind: our thoughts are regarded as just the same incessant, idle, and deceptive phenomena as the storming and receding waves of the sea.Bunin devoted two poems to the sea. One of them (1895) presents the sight of the tranquil nocturnal sea, arousing a delighted state of the observer, his presentiment of everlasting beauty and “unearthly truth”. The other poem (1897) describes the stormy Northern Sea with its piercing wind and heavy waves. The parallel between this sight and the depressed state of mind of the poet appears in the pejorative semantic tones of the epithets and predicates.In Balmont’s poem У моря ночью [At the Sea by night] (1903), the sight of the sea by night stirs up in the poet a desperate vision of imminent death.In his short poem (1884), Nadson compares the sea with a powerful organ in a majestic cathedral but at the same time a vision appears to him of “somebody insanely laughing and threatening”.In the cited poems, the romantic (i.e. individual and emotional) attitude to the sea is integrated with superior skill in describing elements of reality, and reveals a certain inclination of the poets to transcendental experience.

Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.

Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vierkina, the artist with a beautiful timbre of her voice, which has a wide range capable of covering both soprano and mezzo-soprano. A brief overview of the vocal performance of T. Vierkina as a chamber singer is presented. The role of the Petersburg vocal teacher Raisa Christie, under whose guidance T. Vierkina perfected her singing technique and was supported in her search for an intonationally meaningful manner of singing, is shown. Turning to the analytical material, the author emphasizes means of expressiveness, with the help of which the singer creates completely different images on the basis of five romances. High, penetrating elegiac character of the Glinka type in the work of A. Gurilev is combined with the subtle understanding of the dialogical nature of the romance genre – the singer interprets each verse as an increasingly tense “phase” in her communication with an invisible interlocutor. In the song-romance of A. Varlamov, the singer goes by the parallelism of images of nature and a young beauty. The singer organizes the couplet-stanza form in a three-part composition, where the first and last sections (the nature waking up at sunrise plays with morning colors on the cheeks of a sleeping girl) contrast with the central one, in which the image of the night, the time of love anxieties and longings, dominates. At first, the singer’s voice is distinguished by its primary “instrumentality”, ease and purity of sound, while in the “night scene” it acquires greater density, verbal expressiveness. In the Bulakhov’s elegy, subtle penetration into the composer’s concept, which comes in a certain contradiction with Lermontov’s intent, makes it attractive. The poet reveals the effect of prayer as a process that begins “when minute of the life is hard”, and ends with the liberation of the hero from the burden of doubt. Bulakhov, on the contrary, choosing for the romance a gloomy, mournful tonality in B minor keeps it unchanged throughout the entire work, with the exception of episodic deviation to the parallel major, emphasizing the static contemplation of the image of the hero, who thinks suffering itself as grace, as effort of the soul aspiring to God. When considering the last two romances (“No, he didn’t love” and “The Lord’s Ball”), references were made to the interpretations of other performers, who each in their own time and in their own way updated these works (V. Komissarzhevskaya, N. Alisova, A. Vertinsky, V. Vysotsky and others). T. Vierkina’s versions of the two romances are analyzed. The first one attracts with light associations with the free gypsy style of singing (improvisation, use of the larynx-nasal timbre, changing of the metro-rhythm, compression-stretching, free transitions from tempo slowdowns to accelerated movement, transitions from singing to chanting words, etc.). In the song-arietta by A. Vertinsky, the emphasis is on elegance, intonation of sympathy for the heroine, whose life flew in ghostly dreams. The singer narrates, distancing herself from the heroine, then, seems to transform into her, then comments, rising above the “action”. Conclusions. Works created almost two centuries ago, performed by T. Vierkina, become significant and relevant for her contemporaries. In the romance she emphasizes the richness and depth of emotional experiences, which turns it into a kind of “encyclopedia” and, at the same time, “school of feelings”. This school, according to the singer, is called upon to resist the ever-increasing impoverishment of the emotional life of people in the era of technological progress and the increasing popularity of communications in the virtual space of the Internet. T. Vierkina believes that with the classic romance the art of representing ordinary human feelings in the light of a high ideal, reflecting them openly, sincerely, and confidentially, is a part of our life. Evenings of T. Vyerkina’s romances have always been significant events in the musical life of Kharkiv, which drew the attention of the public. The singer’s desire to “actualize” the genre, make it a “barometer” of the moods of her contemporaries, always find support among admirers of her artistic talent – all the singer’s concert performances end with “mass singing” – performance of some popular romance by all the listeners in the hall.

AbstractThis essay heeds Yopie Prins’s recent call to abandon critical attempts to recover the subjectivity of (real) poetesses and instead to look at the culturally constructed figure of the “poetess.” It describes the early reception history of American poetess Lucretia Davidson who died at 16, (possibly of anorexia nervosa). Focused as it was on her death, this transatlantic body of criticism (Southey, Poe) and tribute (Desbordes-Valmore, Karolina Pavlova) offers to the poetess tradition a women’s ethic of self-sacrifice enabling a female form of literary transmission that celebrates women’s interchangeability rather than their uniqueness. An elegy by French poetess Marceline Desbordes-Valmore manipulates Davidson’s image as a means of insisting on the abstemiousness (to the point of death) of the poetess figure despite her hyperproductivity, and then ultimately insists upon the interchangeability and solidarity of women poets. In contrast, Karolina Pavlova’s elegy to Davidson carves out of this transmissible figure her own particular identity, leading to the masculinization of Pavlova’s poetry by Russian critics – and, unfortunately, to Pavlova’s subsequent obscurity. This essay leaves open the question as to which of these two elegists made the “better” choice, delineating instead options for transcontinental women poets in shaping their own subsequent transmission.