Artykuły w czasopismach na temat „Russian sonata”

On 18 July 1896 the 41-year-old Leoš Janáček left his native village of Hukvaldy in north-eastern Moravia to visit Russia. At the end of the first day of travelling he noted in his copy of František Vymazal's Rusky v devíli úlohách (Russian in Nine Lessons; Telč, 1896): 12. hod. v noci Granica. Konečně cítím stát slovanský! … Jací šohaji, čistí, úhlední, úslužní, způsobní při dráze. S úzkostí jel jsem Haličí. A ted' mi tak veselo: probuzení, vykříšení! Otroctví setřásám. Vyjíždíme - Rusko!(12 o'clock at night Granilsa. At last I can sense what it feels like to be in a Slav state! … These railwaymen are such fine lads' clean, tidy, obliging, polite. As I travelled across Galicia I was full of anxiety. Now I am light-hearted: awakening, resurrection! I shake off slavery Off we go - Russia!)

The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz. It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration. It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out. Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level. It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”). The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”. In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).

Abstract This article explores the manner in which Prokofiev’s interpolation of unrelated material in the middle of a traditional theme-space ironizes a seemingly normative sonata process in the first movement of his Second Piano Sonata (1912). By serving as the motivic, tonal, and rhetorical source of much that follows, this interpolation launches a quietly subversive counternarrative that threatens to undermine the traditional sonata narrative upon which the P theme had embarked. I invoke Russian Formalist literary theory as a framework for clarifying and contextualizing the disruptive structural function of Prokofiev’s interpolations within his larger sonata text.

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 research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.   

This article examines the sonata for solo harp No. 2 "Epic sound patterns" by Valery Kikta in order to identify the genre features that form the basis of the artistic task. The Russian harp school has passed its own path of formation and has a recognized authority. Despite this fact, compositions for solo harp in the works of modern Russian authors are quite rare. Valery Kikta became one of the composers seeking to revive interest in the national harp art and advocating the preservation of tradition. His main achievement in this field is not only in the creation of new music, firmly included in the performing and concert repertoire, but also participation in the organization of the Russian Harp Society. The three iconic characteristics of the composition analyzed by the author of the article – genre, timbre and fret – made it possible to define a work of musical art as a text that can be deciphered. In the process of work, special attention is paid to the detailed characteristics of traditional and innovative ways of working with the material. Special emphasis is placed on the search for links with the Russian school of composition and its characteristic reliance on national culture. The semiosis of the sonata and its constituent expressive features of the musical language are determined. The symbolism of the epic in combination with the software component announced by the author made it possible to discover the "message" contained in it.

The study examines the little-known and rarely performed Sonatas for viola and piano by N. A. Roslavets and S. N. Vasilenko, famous musicians and public figures, major representatives of the Russian school of composition, written due to the growing interest in viola performance, technical and artistic capabilities of the instrument. This trend is based on a direct response tothe work of V. V. Borisovsky, who became one of the great interpreters of this repertoire and determined the path of its development up to the present time. The sonata for viola and piano has become a space for experiment, symbolizing the departure from academic canons, the emergence of an alternative type of thinking, the birth of original musical systems. Another facet of this process came to be the compositions written in line with romantic tendencies characteristic of the chamber ensemble in Russian music. The paper focuses on the stylistic and genre features of these compositions, their artistic content, close to the current trends of musical art of the first third of the 20th century. The author displays a diverse palette of intellectual and creative facets, and identifies characteristic features of the composer's handwriting of Roslavets and Vasilenko in the context of traditions and innovation, successive relationships and new aesthetic views.

The article deals with the thematicism and thematic work in the first movement of Mozart’s Piano Sonata KV 311/284c (1777). The analysis of thematical process in this instrumental composition is examined under the angle of correlation between the contemporary and historical approaches: 1. the correspondence of the music theory concepts that were part of the lexicon of Wolfgang Amadeus and Leopold Mozarts (Ideen, il filo), with a complex of musical-analytical terms of our time, formed both in line with the historically informed theory, and in the context of the general theory of musical composition and form; 2. the comparison of research methods of the musical-thematic plan in the English-language and Russian musicology of the last half century. Sonata KV311/284c does not pertain to the number of Mozart’s compositions that have already been studied earlier from the point of view of the theory of topoi, which makes its analysis of additional interest. The article defines the topoi in the first Allegro, demonstrates their distribution in the sonata form, traces the logic of motivic and thematic transformations. The similarity of the “plotline”, which is formed from the relationship of the elements of the musical text (tonal, harmonic, melodic, textural, dynamic, etc.), began to be examined in musicology during the last third of the 20th and the early 21st centuries through the prism of the concept of narrative analysis. Such a plotline in Mozart’s sonata unfolds on two levels. The first is the typical for the sonata form “deducibility” of all themes from the main theme, that is, a certain “obligatory tonefabula” of the sonata composition (a term by Rostislav Berberov). The second level is the presence of an individual “intonation fabula” (a term by Inna Barsova), which is realized through the correlation of motives. In this plot, the archetypal narrative of comedy described by Almén (Byron Almén, 2003, 2008) gets its original embodiment. Thus, when considering the works of Mozart, both narratological analysis and the identification of a “common” classical musical language have significant prospects. At the same time, the relationship between the concepts that have been brought into scholarly use in our time and the concepts that have come from the 18th century is by no means unambiguous. The modern terms “narrative” and “topos” primarily define typological models, while the terms taken from the personal communication of Wolfgang and Leopold Mozarts fix individual of such models specific compositions.

Исследуется творчество композитора-философа Пауля Наторпа, фигура которого в русскоязычном музыкознании практически не представлена. Отдавая себе отчет в том, что его творчество может вызывать интерес с самых разных точек зрения, мы фокусируем свой научный интерес на Сонате fis-moll для скрипки и фортепиано, созданной в период активного формирования новых художественных течений в музыке начала ХХ века. На примере произведений так называемого «второго ряда» Соната fis-moll может служить довольно ярким примером процессов обновления музыкального языка, в том числе на основе переосмысления классического наследия. Музыковедческий анализ Сонаты для скрипки и фортепиано fis-moll осуществляется в опоре на историко-стилевой метод и интертекстуальность. Доказано, что, будучи созданной в русле традиций Бетховена, Шумана и Брамса, Соната fis-moll для скрипки и фортепиано отмечена самобытностью и оригинальностью. Теоретическая значимость работы определяется заполнением лакуны в истории становления жанра скрипичной сонаты в немецкой композиторской школе. Практическая значимость связана с возможностью обогатить скрипичный репертуар за счет знакомства с камерным жанром, представленным в творчестве немецкого музыканта-философа. This work is dedicated to the work of the composer-philosopher Paul Natorp, whose figure is in practice not represented in Russian-language musicology. Realizing that P. Natorp's work can arouse interest from a variety of points of view, we focus our scientific interest on the fis-moll Sonata for violin and piano, created during the active formation of new artistic trends in music at the beginning of the twentieth century. Using the works of the so-called “ second row” as an example, the fis-moll Sonata can serve as a vivid example of the processes of updating the musical language, including on the basis of rethinking the classical heritage. The musicological analysis of the fis-moll Sonata for violin and piano is based on the historical-stylistic method and intertextuality. It is proved that, being created in line with the traditions of Beethoven, Schumann and Brahms, the fis-moll Sonata for violin and piano by P. Natorp is noted for its musical identity and originality. The theoretical significance of the work lies in filling a gap in the history of the formation of the violin sonata genre in the German school of composition. Practical significance is associated with the opportunity to enrich the violin repertoire through acquaintance with the chamber genre presented in the works of the German musician-philosopher.

Work on studying and creation of new grades of onions cultures was carried out in the Moscow region, the Odintsovo district, FGBNU «Federal scientific center of vegetable growing». As a result of long-term researches, and in particular, for the last five years in laboratory of selection and seed farming of onions cultures more than ten grades were created. From them one grade of garlic winter Lyudmila, one grade of the onion reddening the Charodey, one grade of shallot onion the Dachnaya sonata. Of onions the reddening Charodey was entered in the State register of selection achievements of the Russian Federation in 2018, garlic winter Lyudmila in 2019. In selection work with garlic winter and and shallot onion used a method of clonal selection. In collection nursery of garlic winter 200 exemplars of various eko-geographical origin were used. In 2016 the perspective exemplar of garlic winter at No. 78 which was registered further as a grade Lyudmila was allocated, its bulbs can be used for receiving powder and paste. The collection nursery of an shallot onion for years of researches was presented by 45 high-quality exemplars of various eko-geographical origin. Also in 2018 the perspective exemplar of an shallot onion at No. 39 was allocated and transferred to the State commission on grades the same year under the name the Dachnaya sonata. Now a shallot onion grade the Dachnaya sonata passes test in State commission on grades. It should be noted that in collection nursery of laboratory of selection and seed farming of onions cultures exemplars were allocated: garlic winter, onions many-tier, garlic onions (rockamball), Welsh onion on the main economic and valuable signs: high winter hardiness, high food qualities, resistance to diseases and wreckers, good ability of bulbs to be stored up to ten months (garlic winter, garlic onions). Now further selection work on creation of new grades and maintaining of the grades created earlier is conducted.

The article is devoted to a significant date — the 250th anniversary of the birth of the great German composer Ludwig van Beethoven. The author examines some issues of the influence of Beethoven's work on Russian artists in various fields of art. Especially stands out the name of one of the leading representatives of the Soviet musical avant-garde of the XXth century, composer Gavriil Popov, who created "Heroic" and "Pastoral" symphonies, following in the steps of the outstanding German master and entering into a "dialogue at a distance" with him. Furthermore, the indirect parallels between Popov's work and Beethoven's art are considered. The article also touches on the role of Beethoven's "Moonlight Sonata" in the legendary film "Chapaev" by the Vasilyev brothers.

В статье обосновывается необходимость сохранения в методологии музыкального анализа достижений отечественной аналитической школы, в частности, метода целостного анализа В. А. Цуккермана, опирающегося на систему терминов-метафор, подчеркивается их роль в раскрытии образного содержания музыки, концепции произведения. Среди них — термин «семантика прощания», который относится к процессам,подчеркивающим функцию завершения в музыкальных структурах, направленным на «разъяснение формы» и обладающим богатым арсеналом выразительных средств. Другой важнейший термин-метафора — «завершающая перемена» («перемена в последний раз»), введенный В. А. Цуккерманом в его теории масштабно-тематических структур. Оправданность этих терминов-метафор рассмотрена на примерах музыкальных структур разных уровней — в кодах (Л. Бетховен, финал Фортепианной сонаты op. 53, И. Стравинский, «Агон»), в финалах циклов (А. Шнитке, Фортепианный квинтет; Г. Малер, «Песня о земле»; Ф. Караев, Концерт для скрипки с оркестром). The article substantiates the necessity of preserving in the methodology of musical analysis the achievements of the national analytical school, in particular, the method of holistic analysis of V. A. Tsukkerman, based on the system of metaphorical terms. Their role in revealing the semantic content of music, the concept of the work is emphasized. A term “semantics of farewell”, which refers to the processes emphasizing the function of termination in musical structures, aimed at “explaining the form” and having a rich arsenal of expressive means, is among them. Another important metaphorical term is “the final change” (“change for the last time”), coined by V. A. Tsukkerman in his theory of syntactic structures. An applicability of these metaphorical terms is considered on different scale levels — in the codas (Beethoven, finale of the Piano sonata op. 53, I. Stravinsky, “Agon”), in the finals of the cycles (A. Schnittke, Piano quintet, G. Mahler, “The song of the earth”, F. Karayev, Violin concerto).

This article is devoted to individual episodes of the life of Emile Dillon, unique in his talents and versatile of activity. He was an Englishman who lived in Russia for many years and considered it his second homeland. Dillon was an orientalist, polyglot, journalist, writer, who always found himself at the most interesting moment in many of the world’s hotspots at the turn of the 19th and 20th centuries, receiving the title of academic at the end of his life in the UK. He was the first English translator for “Kreutzer Sonata” by L. N. Tolstoy, with whom he was in friendly relations. Having come to Russia in 1877, he left it only in 1917. Educated in France, Germany, and Russia, he became a unique man whose talents were successfully used by the intelligence of many countries. The period of teaching at Kharkov University was brief and after receiving the positi on of a St. Petersburg correspondent for “The Daily Telegraph”, the best English newspaper of the time, his bright career as a journalist started. He carried out the most incredible errands of English, Russian and possibly other governments and government officials. It is no coincidence that S. Yu. Witte called him a faithful man and “the first among the publicists of his time”. The findings in the archives of the Stanford University Library revealed his secret mission to the rebellious Crete in 1897, where he, along with two other war correspondents from England, carried out the assignments of the commanders of the international squadron of the four patron states of Greece — England, Russia, France and Italy (the latter occupied the island). His correspondence and notes give a unique picture of the relationship on the island of two irreconcilable parties — the insurgents (Christians) and the Muslims. The Dillon Archive in the United States is rich in other materials that may be of interest to Slavists.

В западном музыкознании родоначальниками теории барочного развертывания признаны Вильгельм Фишер и Эрнст Курт. Они заложили основы двух направлений в трактовке термина Fortspinnung (его введение приписывается Фишеру; в действительности термин впервые применен в 1894 году Отто Клаувелем в контексте сонатной формы). В исследовании Фишера об эволюционной взаимосвязи барочного и классического стилей (1915) структурная модель развертывания, трактуемая как прообраз сонатной экспозиции, одновременно сближается с формой Satz и теряет свою метрическую специфику (похожий подход сейчас развивается в американской науке). В труде Курта о контрапунктической мелодике (1917), напротив, утверждается метрическая противоположность классического и линеарного полифонического мышления. Не касаясь конкретной структурной модели, Курт подчеркивает метрическую регулярность классических форм в противоположность «линейной неизмеримости» у Баха (и раньше, в протестантском и грегорианском хорале); отсюда - разный характер музыкального времени и методов работы. Отечественное музыкознание заимствует у Фишера идею структурной модели (с иной, однако, терминологией), а у Курта - понимание полифонической природы развертывания. Наблюдение особого временно́го состояния барочного развертывания привело отечественных ученых к мысли о более широкой роли развертывания в музыкальной истории, включая традиционные внеевропейские культуры и новейшие композиторские техники. Изучение развертывания в разных его проявлениях становится все актуальнее. B. Fisher and E. Kurt are acknowledged to be the founders of the theory of baroque Fortspinnung in Western musicology. They laid the foundation of two directions in the interpretation of the term Fortspinnung (its introduction is attributed to Fisher but in fact it was introduced already in 1894 by O. Klauwell in the sonata context). In Fisher’s research of the evolutionary interaction between baroque and classical styles (1915) the structural model of Fortspinnung interpreted as a prototype of a sonata exposition at the same time gets closer to the Satz form and loses its metrical particularity (a similar approach is being developed in American science now). On the contrary, in Kurt’s work on counterpoint melody (1917) the metrical opposition of classical and linear polyphonic thinking is set. Not touching any particular structural model, Kurt emphasizes metrical regularity of classical forms in contrary to Bach’s “linear immeasurability” (and earlier in Protestant and Gregorian chorale); that is why there is different character of musical time and methods of work. Russian musicology takes the idea of structural model from Fisher (nevertheless with different terminology) and the understanding of polyphonic nature of Fortspinnung from Kurt. The observation of particular time condition of baroque Fortspinnung led Russian scholars to the idea of a wider role of Fortspinnung in musical history, including traditional non-European cultures and the newest composer techniques. The study of Fortspinnung in different manifestations is becoming more and more actual.

Abstract Chopin's Stuttgart diary, written in a state of fear for his loved ones after the defeat of the anti-Russian insurrection in fall 1831, reveals the exiled composer's emotional distress and morbid alienation. Chopin's intense feelings of mourning lent his imagination a peculiar fascination with the morbid. References to corpses and allusions to ghosts in the diary reflect a profound trauma caused by the uncertainty of his personal situation and his awareness of the political crisis. The Stuttgart crisis is only one of numerous instances in which Chopin mapped his personal losses onto the broader fate of those Poles forced into exile after the failure of the uprising. This identification with the estranged community was capable of producing a deeply subjective experience of haunting. Chopin's music carries a poignant relationship to loss and melancholia, exemplified in this article by the Étude, op. 10, no. 12 (“Revolutionary”), the Nocturne, op. 15, no. 3, and the Funeral March from the Piano Sonata, op. 35. These traits have prompted recent films by Andrzej Zulawski and Zbig Rybczynski to adopt Chopin's music as a means of collective mourning in post-Communist Poland.

Women's inferiority persists, particularly in patriarchal societies. In Russia, women have always been treated as second-class citize (Placeholder1)ns to men. As a result, because it is a system that already exists in society, women's inferiority is the fundamental problem of inequality for women in Russia. The novel The Kreutzer Sonata explores the inferiority of female characters in nineteenth-century Russia, where the church's influence is still strong. The aims of the research were to examine about women inferiority and struggle in patriarchal society as portrayed in the novel The Kreutzer Sonata by Leo Tolstoy. The data was collected using the following methods: 1) attentively reading the novel to determine which sections featured inferiority and struggle, and 2) collecting notes and marking the facts of inferiority in the marriage and society. 3) categorizing; and 4) analyzing. Based on the research, it was discovered that there were two major forms of women's inferiority: 1) the feeling of powerlessness in decision of marriages. This powerlessness happens to both the mother and the daughters. 2) being subjected to discriminatory treatment, such as a lack of freedom and mobility based only on sexuality, as well as physical abuse and loss of inheritance.

The article is devoted to the topical issue of N. Leskov’s strategies for Gospel text «appropriation». The material for the analysis were the less studied works of the writer written in 1892 which Leskov himself positioned as «autobiographical» – «rhapsody» The Vale of Tears and «picture from life» The Improvisers. Applying modern methods of textual analysis (communicative-pragmatic, receptive) and a complex of research methods of theoretical poetics, the authors of the article investigate the problem of the Gospel reception by the writer at the level of the author's style as a combination of basic stylistic elements (narrative, compositional, plot, figurative, linguistic). In the 1890s Leskov's works, the «autobiographical» kind of narration became quite common. It can be found both as a form of primary narrative, complementing the secondary fairy tale narration (Midnighters, Rabbit Remiz), and as an independent narrative form (Concerning the Kreutzer Sonata, The Vale of Tears, The Improvisers, Lady and Fefela).The comparative analysis of The Vale of Tears and The Improvisers demonstrates fundamental similarities in the functioning of the Gospel quotes in Leskov's «autobiographical» works. The semantic and emotional culmination of the latter is the lyrical monologue of the I-narrator, in which the writer turns to quoting the Gospel. The Gospel quotes do not result directly from the plot and are presented not as rational conclusions from the events described, but as a kind of «revelation» of the I-narrator. It is not the power of logical persuasion that comes to the fore, but feeling. Appeal to the Gospel word, which acts in his works as the main means of satisfying spiritual «hunger,» allows Leskov to show the reader a way out of the situation of moral and spiritual ignorance, which, according to the writer, the Russian «common people» found themselves in at the end of the 19th century.

The article discusses the history of Beethoven's violin and chamber instrumental works — his Concerto, violin sonatas, bowed quartets and pieces — on the Russian concert scene of the XIXth century. The purpose of this paper is to trace the most important stages in strengthening the position of the composer's violin and chamber-instrument works in Russia and to outline the main factors influencing this process. The paper provides a chronology of Beethoven's compositions appearing on the Russian stage, and also analyzes reasons for the popularity of certain works, such as the "Russian Quartets" op. 59, as well as the ambivalent attitude towards other works — the late quartets and the Violin Concerto. Another aspect of the article focuses on the contribution of Russian (A. Amatov, N. Golitsyn, A. Bogdanov, V. Bezekirsky) and foreign performers who worked and toured in Russia (L.-W. Maurer, A. Viethan, F. Laub, H. Wieniawski, and L. Auer) to the popularization of Beethoven's violin heritage. Particular emphasis is placed on the virtuoso-romantic context of performing art, in which the Beethoven tradition in Russia was born.

Статья приурочена к 135-летнему юбилею со дня рождения русского танцовщика, хореографа, педагога Федора Васильевича Лопухова (1886-1973). В работе представлен круг вопросов, связанных с разработкой танцсимфонии - нового музыкально-пластического жанра балетного театра XX века. Лопухов сформулировал теоретические положения танцсимфонии, выразившиеся в обращении к «чистому» жанру симфонии, свободной работе хореографов с музыкой сонатно-симфонического цикла, идее бессюжетного балета. Эти принципы найдут оригинальное воплощение в спектаклях последователей Лопухова, выдающихся танцовщиков-балетмейстеров XX столетия - Л. Ф. Мясина, И. Д. Бельского, Дж. Баланчина. В статье представлена история создания спектакля «Величие мироздания» на музыку Четвертой симфонии Бетховена. Рассмотрена взаимосвязь хореографических решений Лопухова и музыки симфонии. Абстрактные подзаголовки, которые Лопухов дает частям симфонии в ее хореографическом воплощении, близки эстетике русского авангарда 1920-х годов. The article is dedicated to the 135 anniversary of the birth of the Russian dancer, choreographer, teacher Fyodor Lopukhov (1886-1973). The paper presents a wide range of issues related to the development of dance symphony - a new musical and plastic genre of ballet theater of the XX century. Lopukhov formulated the theoretical provisions of dance symphony, expressed in an appeal to the ‘pure’ genre of symphony, the free work of choreographers with the music of the sonata-symphonic cycle, the idea of plotless ballet. All these principles will find an original embodiment in the performances of Lopukhov’s followers - outstanding dancers-choreographers of the 20 century Léonide Massine, Igor Belsky, George Balanchine. The work also examines the history of the creation of a unique performance The Greatness of the Universe, set to the music of Beethoven’s Fourth Symphony and an extraordinary reading of the masterpiece of the Viennese classic on the ballet stage. According to Lopukhov’s choreographic plan, the four movements of Beethoven’s symphony were named: the first part - Life in death and death in life, the second - Thermal Energy, the third - The Joy of existence and the fourth - Eternal Movement. These subheadings are close to the aesthetics of the Russian avant-garde of the 1920s. The article also touches on the structural features of Lopukhov’s ballet production: instead of the traditional four-part cycle of Beethoven, the choreographer’s script and performance began to include five parts (Lopukhov separated the introductory Adagio from the Allegro vivace material and designated it as an independent part). The article considers the connection of Lopukhov’s stage decisions with the musical form of the parts of Beethoven’s symphony. Keywords: L. van Beethoven, F. V. Lopukhov, P. Goncharov, Beethoven’s Fourth Symphony, ballet, dance symphony, The Greatness of the Universe

Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”, refl ected in various research projects, do not lose their relevance for contemporary musicians. Objectives. The goal of the article is to reveal the image and the stylistic peculiarities the music pieces by S. Bortkiewicz, composed for piano and orchestra. Methods. The study is based on the historical, theoretical and comparative methods of analysis, which allow to bring in critical reviews of contemporaries and researchers about S. Bortkiewicz’s music, reveal the compositional and dramatic features of his piano concerto opus, reveal the individual approach to the inherited tradition. Results. The composer’s legacy includes three Concertos and the Russian Rhapsody, created between 1910s and the fi rst half of the 1930s. The interest in this fi eld of creativity can be explained by the pianistic activity of the composer, who “started” with the Concerto Op. 1 for the favorite music instrument. Despite the fact that the author ultimately abandoned his “fi rst-born” work, judging by the Kharkiv press publications of the fi rst decade of the 20th century, he presented it to the public. Actually, 1st Concerto for piano and orchestra op. 16, B-dur (1912) bares the tradition of a three-part structure with contrasting comparison of movements. Despite the seemingly impressive appearance of the piano part, S. Bortkiewicz summarizes the best achievements of Western European and Russian music, revealing his creative individuality. While maintaining a clear delimitation and contrast between the three movements, he seals the cycle with thematic arches. He also involves the idea of a multi-episodic mood swings, revealing closeness to the poetic type of thinking. The predominance of lyrical expression in S. Bortkiewicz’s Concertos indicates the composer’s orientation to the experience of romantic culture. However, he does not seek to establish the domination of the soloist, his priority position in the concert dialogue. There is an equal parity of both parties, which is beyond the tradition of alternate duplication-development of the same material. S. Bortkiewicz does not tend to use symphonic methods either, handling the contrast technique and as a means of creating dramatic collisions that move the process forward, and as one of the most effective methods of development. The composer uses the entire arsenal of pianistic techniques, except for the passage technique of style brilliant. The principles of a poem found their further implementation in the 3rd Piano Concerto, Op. 32, c-moll, entitled “Per aspera ad astra” (“Through thorns to the stars”), which is a single-cyclic music piece, referring to the works of F. Liszt. The choice of compositional and dramatic solution is determined by the artistic idea. It also brings into existence the intonation, the mode and tonal, and the texture allusions that give birth to vivid imaginative associations and ideas about deep semantic connections that relate composers from different eras to each other. The combination of different style phenomena, based on the commonality of their context, the activation of associative relations, the free application of accumulated experience reveal the composer’s modern thinking, an active search for new approaches to the established tradition, refl ecting the polystylistic tendencies in the music of the 20th century. Russian Rhapsody for piano with orchestra op. 45, a-moll is a concentrated expression of the “folk” line in the works of S. Bortkiewicz. It summarizes the specifi c features of the composer’s large-scale music pieces: the multi-episode structure based on contrasting material, and the purposefulness of the dramatic process, ensuring an active movement to the unfolded “fi nal” climax; the suite structure that appears from the change of the whole expressive means complex on the borders of the sections; and the refrain structure that builds the “frame” of the contrast composite form; the principle of “threading” themes that are different in emotional content, and the gradual consolidation of the main imagery sphere through the extrusion of the previously using thematic ideas. For the Russian rhapsody, using the fresco principles of writing, the larges-cale and brightness of the instrumental palette is typical. These properties bear the imprint of individuality that is common to Bortkiewicz, since the solo piano is considered as one of the equal participants in the orchestra. The 2nd Concerto op. 28 for the left hand (1924), at fi rst glance, stands somewhat apart from similar works by the composer. However, the composer does not limit himself in his choice of pianistic methods. Instead, he uses the whole complex of technical and expressive means: the fi gurative movement, octaves, hidden two-voice theme with the typical “landscape – background” texture, dialog cross-talks, fullness of timbre and register space, a variety of playing techniques that help to reveal the imagery and the emotional content. Conclusions. Large cyclical genres demonstrate the creative approach of S. Bortkiewicz to the established patterns, which can be seen through the specifi c interpretation of the sonata form and the cycle as a whole, in using the technique of variation and the poem principles, the dynamization of the dramatic process and the relative completeness in each section of the form, the mode and harmonic freedom within the construction elements and overall tonal balance. To concretize the imagery world and the artistic idea of a music piece, the composer makes extensive use of genre and style allusions and the quoted material.

The results of the study of 20 new strawberry cultivars grown in the conditions of the Central part of Russia (Orel region), according to the content of anthocyanins, catechins and the total number of polyphenols in berries, are presented. Anthocyanins and catechins are representatives of the main group of phenolic compounds, flavonoids that have a therapeutic and preventive effect on the human body. The purpose of the research is to identify the best genotypes for breeding for an improved chemical composition of berries. The determination of phenolic compounds was carried out by the photometric method. The content of anthocyanins in strawberries varied depending on the cultivar to an average degree (V=16.3%) and amounted to 51.1±1.9 mg/100 g with a range of variation from 40.1 to 70.2 mg/100 g. A high content of anthocyanins (mg/100 g) was observed in Rusich (70.2), Solovushka (64.2), Darselect (62.5), Tsaritsa (59.5), Rubino civ (57.9), Sonata (55.4), Alpha (54.5), Honeoye (51.8). The average content of catechins in the berries of the studied group of cultivars also changed to an average degree (V=22.2%) from 71.4 to 174.6 mg/100 g with an average c value of 124.9±6.2 mg/100 g. The high content of catechins in berries was found in Rusich (136,2), Clery (132,0), Rubino civ (137,4), Sara (137,7), Vima Kimberly (139,5), Dezy (152,5), Sonata (164,9), Solovushka (168,2) and Alpha (174,6). There was no correlation between the accumulation of anthocyanins and catechins in strawberries (r=+0.149). According to the total number of polyphenols (more than 500 mg/100 g) in the berries, Alpha, Rusich, Solovushka, Dezy and Rubino civ are distinguished.

Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.

AbstractIran and CEA have historically close links going back as far as the sixth century BC when the Persian Achaemenid Empire conquered the region. For a long time, Persian was the main language of the elite in CEA. Since the disintegration of the USSR, Iran has been determined to re-strengthen its position in CEA, particularly in economic and security terms. Iran is an active player in the Economic Co-operation Organization (ECO). It also promotes the construction of southern pipelines from CEA to export the region's oil and gas resources as it hopes to profit from it for its own oil and gas export. However, it has to be noted that Iran in no way is a dominant player in the region. The rivalry between the various political factions of the Iranian political elite - the Conservative Traditional Right (Rast-e Sonati), Traditionalist left (Chap-e Sonati), Revolutionary or New Left or Hizbollah, Conservative Modern Right Rast-e Modern - leads to incoherence in Iran's foreign policy and makes Iran an unreliable actor to cooperate with not only the countries of CEA but also for other countries interested in the region (i.e., the United States, European Union, Turkey, Russia, China, Saudi Arabia). Additionally, the great national economic problems in Iran are an obstacle for Iran to become more active economically in CEA.

2019 is declared the Mieczyslaw Weinberg’s year due to the 100th anniversary of the composer’s birth, whose works are rarely heard in concert halls of Russia. This fact stipulated the current paper devoted to Weinberg’s works. The study is intended to contribute to the composer’s profile and to add some pedagogical and performing observations and recommendations. A number of special methods of analysis of musical works (structural, harmonic, etc.) are used in the paper, as well as a system approach to the theoretical insight into the process of integration Weinberg’s chamber and ensemble compositions into the professional musical training. Artist and time, composer and performer, musical and artistic interpretation – these are the categories musical and performing arts deal with. In this paper, we focus on the chamber-instrumental genre and, in particular, Weinberg’s Sonata for violin and piano A-dur op. 37 No. 3 to examine the peculiarities of the composer’s musical language. The article indicates the conditions that are essential to solve the tasks performers often face – comprehension of Weinberg’s chamber and ensemble instrumental works’ inherent features, getting the most complete revealing of musical and artistic imagery of his compositions, defining distinguishing features of ensemble performing. Following the state educational standards in the field of training instrumental musicians to meet high-level proficiency requirements, the authors examine synthesis of tradition and innovation in the composer’s chamber ensemble instrumental works, provide deep analysis of a composition that is recognized as a piece of high aesthetic and ethical value. Thus, the authors believe it to be an appropriate work to contribute to the professional and spiritual growth of everyone who turns to this music, including young musicians engaged in chamber ensemble.

В современное российское музыкознание понятие «микротематизм» вошло достаточно давно и встречается в основном в анализах музыки ХХ века. Оно фиксирует «функционирование в музыке каких-либо малых тематических образований» (В. Н. Холопова). Понятие «микротематизм» было введено и первоначально разработано в узкоспециальных целях: прежде всего для обозначения особого качества музыки С. В. Рахманинова. В статье приводятся трактовки понятия, предложенные в 1960-1970-е годы Е. А. Ручьевской и Н. А. Скафтымовой в связи с анализом произведений Рахманинова. Дальнейшая жизнь понятия «микротематизм» свидетельствует о его расширении - оно применяется свободно, без специальных пояснений в анализах музыки К. Дебюсси, Б. Бартока, А. Веберна, А. Шёнберга. Опираясь на идею К. Дальхауза о качественно новой роли кратких мотивов в музыке рубежа XIX-XX веков, автор статьи предлагает несколько аналитических наблюдений над этой закономерностью в прелюдиях К. Дебюсси, сонатах А. Н. Скрябина, произведениях А. К. Лядова и Г. Малера. The concept of "microthematism” has entered the modern Russian musicology a long time ago and is found generally in the analyses of the music of the XX century. It fixes the "functioning of any small thematic formations in the music” (V. N. Kholopova). The concept of "microthematism” was introduced and originally developed for highly-specialized purposes: first of all, to define the special quality of the music of S. V. Rachmaninov. This article provides the interpretations of the concept suggested in the 1960s-70s by E. A. Ruchyevskaya and N. A. Skaftymova in connection with the analysis of Rachmaninov’s works. The further life of the concept of "microthematism” indicates its expansion-it is used freely, without special explanations in the analyses of the music of C. Debussy, B. Bartok, A. Webern, A. Schoenberg. Based on the idea of C. Dahlhaus about the qualitatively new role of short motives in the music of the turn of the 19-20 centuries, the author of the article suggests several ana Lytical observations concerning this trend in the preludes of C. Debussy, the sonatas of A. N. Scriabin, the works of A. K. Lyadov and G. Mahler.

Abstract Background Leaf rust (Puccinia triticina Eriks.) is one of the most dangerous diseases of common wheat worldwide. Three approaches: genome-wide association study (GWAS), marker-assisted selection (MAS) and phytopathological evaluation in field, were used for assessment of the genetic diversity of Russian spring wheat varieties on leaf rust resistance loci and for identification of associated molecular markers. Results The collection, consisting of 100 Russian varieties of spring wheat, was evaluated over three seasons for resistance to the native population of leaf rust specific to the West Siberian region of Russia. The results indicated that most cultivars showed high susceptibility to P. triticina, with severity ratings (SR) of 60S–90S, however some cultivars showed a high level of leaf rust resistance (SR < 20MR-R). Based on the results of genome-wide association studies (GWAS) performed using the wheat 15 K genotyping array, 20 SNPs located on chromosomes 6D, 6A, 6B, 5A, 1B, 2A, 2B and 7A were revealed to be associated with leaf rust resistance. Genotyping with markers developed for known leaf rust resistance genes showed that most of the varieties contain genes Lr1, Lr3a, Lr9, Lr10, Lr17a, Lr20, Lr26 and Lr34, which are not currently effective against the pathogen. In the genome of three wheat varieties, gene Lr6Ai = 2 inherited from Th. intermedium was detected, which provides complete protection against the rust pathogen. It has been suggested that the QTL mapped to the chromosome 5AS of wheat cultivar Tulaikovskaya-zolotistaya, Tulaikovskaya-10, Samsar, and Volgouralskaya may be a new, previously undescribed locus conferring resistance to leaf rust. Obtained results also indicate that chromosome 1BL of the varieties Sonata, Otrada-Sibiri, Tertsiya, Omskaya-23, Tulaikovskaya-1, Obskaya-14, and Sirena may contain an unknown locus that provides a resistance response to local population. Conclusions This study provides new insights into the genetic basis of resistance to leaf rust in Russian spring wheat varieties. The SNPs significantly associated with leaf rust resistance can be used for the development and application of diagnostic markers in marker-assisted selection schemes.

The article examines Prokofiev’s compositional oeuvre through the lens of the Rimsky-Korsakov scale (octatonic collection) and its prominence in selected works from 1915 through 1941. Although he never took a composition lesson with Rimsky-Korsakov, Prokofiev’s careful use of the collection shows his intimate knowledge of the scale. The article seeks to add a understanding of the development of the Rimsky-Korsakov scale within Russian theoretical thought. A survey of short octatonic sections culminates in the analysis of Sonata no. 6, which not only uses the same octatonic collection to characterize the themes of first and last movements, but also features a scalar version of the octatonic collection at the very climax of the last movement. This event further enhances the importance of the scale and takes on a dramatic role from its initial association with magical characters in Rimsky-Korsakov’s music to depicting the despicable woes of the Great Patriotic War in Prokofiev’s music.

Современная концепция устойчивого развития сельского хозяйства предполагает широкое использование интенсивных сортов нового поколения. Селекционерами ВНИИ кормов создана система инновационных сортов однолетних и многолетних бобовых и злаковых трав, климатически и экологически дифференцированных, высокопродуктивных, устойчивых к основным болезням и стрессам, обладающих повышенной симбиотической активностью. Ультрараннеспелый сорт клевера лугового Ранний 2, созданный на основе метода химического мутагенеза, формирует в течение 70 дней 10–11 т/га сухой кормовой массы. Сорт клевера лугового Марс разработан специально для кислых почв методом экспериментальной полиплоидии. Инновационные сорта люцерны Вега 87, Селена, Соната, Луговская 67, Пастбищная 88 имеют различные эдафические, фитоценотические, симбиотические характеристики и обладают высокой конкурентной способностью и устойчивостью (4–5 лет пользования); урожайность сухого вещества составляет 11,5–13,0 т/га. Перспективные сорта многолетних злаковых трав являются важнейшим компонентом сенокосных и пастбищных экосистем, имеют ландшафтное значение. Они обеспечивают урожайность сухого вещества 11,0–12,0 т/га и выше при содержании сырого протеина 12–15 % и переваримости сухого вещества 65–70 %. Новый сорт полевицы гигантской Альба создан на основе метода оценки сортообразцов и отбора их по глубине залегания корневищ. Внедрение и эффективное использование этих сортов в хозяйствах различных регионов страны обеспечит увеличение производства кормов и создание надёжной кормовой базы для животноводства. The current concept of sustainable development of agriculture includes wide usage of the most advanced intensive varieties. Breeders from the All-Russian Williams Fodder Research Institute created the series of innovative varieties of annual and perennial leguminous and gramineous grasses. They are resistant to main diseases and tolerant to stresses, feature high symbiotic activity, and differ in climatic and ecological adaptability. Created by chemical mutagenesis, the ultra-early red clover variety ‘Rannii 2’ formed 10–11 t ha-1 of dry feed mass during 70 days. The red clover variety ‘Mars’ were created specifically for acid soils using the experimental polyploidy. The innovative alfalfa varieties ‘Vega 87’, ‘Selena’, ‘Sonata’, ‘Lugovskaya 67’, ‘Pastbishchnaya 88’ feature different edaphic, phythocoenotic, symbiotic abilities. They showed high competitive ability and persistency (4–5 years of use), their dry matter yield was 11.5–13.0 t ha-1. Promising varieties of perennial gramineous grasses are the major component of hay and graze ecosystems, and have a landscape value. They provide 11.0–12.0 t ha-1 and more of dry matter with 12–15 % content of crude protein, and 65–70 % digestibility. The new giant bentgrass variety ‘Alba’ was created using evaluation and selection by the depth of rhizomes. Introduction and effective using of these varieties in the farms from different regions will provide an increase in feed production and the creation a reliable feed reserve for livestock.

AbstractThe critically endangered Spoon-billed Sandpiper Calidris pygmaea breeds in Russia and winters between Bangladesh and China. World population estimates during 2014–2019 suggested a decline at a mean rate of 8% per year. Several surveys of local populations also indicated declines. We report a rapid decline of another local population of the species based on a 9-year series of annual surveys during the boreal winter at Sonadia Island, Chattogram Division, Bangladesh. We made bounded-count estimates of local populations of the Spoon-billed Sandpiper and 25 other shorebird species based on monthly counts in each of nine winters (2012/2013 to 2020/2021). For three of these winters (2017/2018 to 2019/2020), we also made Lincoln–Petersen estimates of the local population of Spoon-billed Sandpipers using resightings and scan surveys of individually marked birds. Population and trend estimates for the two methods were similar during the 3-year period when results from both were available. Bounded-count estimates of Spoon-billed Sandpipers declined markedly over the 9-year period. Analysis of combined data from both methods indicated that an exponential decline at a mean rate of 9.5% per year during the period 2012/2013 to 2017/2018 was followed by a much more rapid decline at 49.1% per year during 2018/2019 to 2020/2021. Bounded-count estimates of the combined population of 25 other shorebird species in each winter showed no decline during the 9-year period, which suggests that the decline in the local population of the Spoon-billed Sandpiper was not part of a general decline in populations of wintering shorebirds due to local factors. Estimates of the mean trend of other Spoon-billed Sandpiper local populations and of the world population all indicate declines at broadly similar rates. We recommend immediate reassessment of threats faced by the Spoon-billed Sandpiper and improved conservation interventions.

Avrupa’yı kasıp kavuran 1848 Devrimleri arasında en uzun ömürlü olan Macaristan’ın özgürlük talebi, Çarlık Rusyası ve Habsburg müşterek orduları tarafından 1849 senesinin Ağustos ayında şiddetle bastırıldı. Bunun netincesinde binlerce Macar, Leh ve İtalyan mülteci kendilerine sığınma hakkı tanıyan Osmanlı’ya sökün ettiler. Sürgün dönemi devrimciler arasındaki fikir ayrılıklarını derinleştiren bir katalizör oldu. Zira Leh General Józef Bem takipçileriyle birlikte ihtida ettiğini ilan edince Kossuth tarafından şiddetle eleştirilmişti. İlgili literatüre bakıldığı zaman, sayıca daha az olsalar da akademik ilgi çoğunlukla Kossuth grubu üzerinde toplandığı görülür. 1851’e kadar perderpey serbest bırakılan bu üst kadronun Türkiye’yi terk etmesi, literatürdeki hakim kanıya göre, Osmanlı tarihinde bir dönemin sonunu işaret ediyordu. Bu düşünceye karşılık, Başbakanlık Osmanlı Arşivi (BOA) sayesinde elde edilen kimi bulgulara göre 1851’de kapandığı varsayılan mülteci meselesi yaklaşık on sene sonra dahi başka görünümlerde varlığını devam ettirmişti. Bu çalışmanın amacı, var olan yerleşik kanının aksine, 1849 Macar ve Leh mülteciler meselesinin 1848’de başlayıp 1851’de kapanmış bir tarihsel sayfa olmayıp Osmanlı bürokrasisini bir süre daha meşgul eden uzun vadeli yansımaları olduğunu ortaya koymaktır. Bunun için odaklanması gereken daha ziyade ana akımın dışında kalan mülteciler ve mühtedilerdir. / Hungary's plea for freedom, the longest lasting among the Revolutions of 1848 that swept across Europe, was forcibly crushed by the armies of Tsarist Russia and the House of Austria in August 1849. Consequently, thousands of refugees fled to the Ottoman Empire, which granted them with the right to asylum. The period in exile was a catalyst which deepened the differences of opinion among the revolutionaries. Polish General Józef Bem was bitterly criticized by Kossuth when he announced his conversion to Islam, along with his followers. A great deal of scholarly attention is concentrated on the Kossuth group, though they were less in number. For many, the departure of the upper echlon from Turkey, who had been gradually released until 1851, marked the end of an era in the history of the Ottoman Empire. Evidence from the Ottoman Archives suggests that the question which is supposed to be solved in 1851 continued its existence in different forms even later. This study aims to suggests that the Hungarian and Polish refugees question of 1849 is not a historical page which was relevant only between 1848 and 1851, yet it had long-term implications. For this, we should focus more on the refugees and converts who were kept out of the mainstream.

03—230 Andress, Reinhard (St. Louis U., USA), James, Charles J., Jurasek, Barbara, Lalande II, John F., Lovik, Thomas A., Lund, Deborah, Stoyak, Daniel P., Tatlock, Lynne and Wipf, Joseph A.. Maintaining the momentum from high school to college: Report and recommendations. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 1—14.03—231 Andrews, David R. (Georgetown U., USA.). Teaching the Russian heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 519—30.03—232 Ashby, Wendy and Ostertag, Veronica (U. of Arizona, USA). How well can a computer program teach German culture? Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 79—85.03—233 Bateman, Blair E. (937 17th Avenue, SE Minneapolis, MN 55414, USA; Email: bate0048@umn.edu). Promoting openness toward culture learning: Ethnographic interviews for students of Spanish. 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Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 87—107.03—237 Bruce, Nigel (Hong Kong U.; Email: njbruce@hku.hk). Dovetailing language and content: Teaching balanced argument in legal problem answer writing. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 321—45.03—238 Bruton, Anthony (U. of Seville, Spain; Email: abruton@siff.us.es). From tasking purposes to purposing tasks. ELT Journal (Oxford, UK), 56, 3 (2002), 280—95.03—239 Candlin, C. N. (Email: enopera@cityu.edu.hk), Bhatia, V. K. and Jensen, C. H. (City U. of Hong Kong). Developing legal writing materials for English second language learners: Problems and perspectives. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 299—320.03—240 Chen, Shumei. A contrastive study of complimentary responses in British English and Chinese, with pedagogic implications for ELT in China. Language Issues (Birmingham, UK), 13, 2 (2001), 8—11.03—241 Chudak, Sebastian (Adam-Mickiewicz-Universität, Poznán, Poland). Die Selbstevaluation im Prozess- und Lernerorientierten Fremdsprachenunterricht (Bedeutung, Ziele, Umsetzungsmöglichkeiten). [The self-evaluation of process- and learner-oriented foreign language teaching.] Glottodidactica (Poznań, Poland), 28 (2002), 49—63.03—242 Crosling, Glenda and Ward, Ian (Monash U., Clayton, Australia; Email: glenda.crosling@buseco.monash.edu.au). Oral communication: The workplace needs and uses of business graduate employees. English for Specific Purposes (Amsterdam, The Netherlands), 21, 1 (2002), 41—57.03—243 Davidheiser, James (U. of the South, USA). Classroom approaches to communication: Teaching German with TPRS (Total Physical Response Storytelling). Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 25—35.03—244 Duff, Patricia A. (U. of British Columbia, Canada; Email: patricia.duff@ubc.ca). The discursive co-construction of knowledge, identity, and difference: An ethnography of communication in the high school mainstream. Applied Linguistics (Oxford, UK), 23, 3 (2002), 289—322.03—245 Egbert, Joy (Washington State U., USA; Email: egbert@wsunix.wsu.edu), Paulus, Trena M. and Nakamichi, Yoko. The impact of CALL instruction on classroom computer use: A foundation for rethinking technology in teacher education. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 108—26.03—246 Einbeck, Kandace (U. of Colorado at Boulder, USA). Using literature to promote cultural fluency in study abroad programs. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 59—67.03—247 Fallon, Jean M. (Hollins U., Virginia, USA). On foreign ground: One attempt at attracting non-French majors to a French Studies course. Foreign Language Annals (New York, USA), 35, 4 (2002), 405—13.03—248 Furuhata, Hamako (Mount Union Coll., Ohio, USA; Email: furuhah@muc.edu). Learning Japanese in America: A survey of preferred teaching methods. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 134—42.03—249 Goldstein, Tara (Ontario Inst. for Studies in Ed., U. of Toronto, Canada). No Pain, No Gain: Student playwriting as critical ethnographic language research. The Canadian Modern Language Review/La Revue canadienne des langues vivantes (Toronto, Ont.), 59, 1 (2002), 53—76.03—250 Hu, Guangwei (Nanyang Technological U., Singapore; Email: gwhu@nie.edu.sg). Potential cultural resistance to pedagogical imports: The case of communicative language teaching in China. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 93—105.03—251 Huang, Jingzi (Monmouth U., New Jersey, USA; Email: jhuang@monmouth.edu). Activities as a vehicle for linguistic and sociocultural knowledge at the elementary level. Language Teaching Research (London, UK), 7, 1 (2003), 3—33.03—252 Hyland, Ken (City U. of Hong Kong; Email: ken.hyland@cityu.edu.hk). Specificity revisited: How far should we go now? English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 385—95.03—253 Jahr, Silke. Die Vermittlung des sprachen Ausdrucks von Emotionen in DaF-Unterricht. [The conveying of the oral expression of emotion in teaching German as a foreign language.] Deutsch als Fremdsprache (Berlin, Germany), 39, 2 (2002), 88–95.03—254 Jung, Yunhee (U. of Alberta, Canada; Email: jhee6539@hanmail.net). Historical review of grammar instruction and current implications. English Teaching (Korea), 57, 3 (2002), 193—213.03—255 Kagan, Olga and Dillon, Kathleen (UCLA, USA & UC Consortium for Language Teaching and Learning, USA). A new perspective on teaching Russian: Focus on the heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 507—18.03—256 Kang, Hoo-Dong (Sungsim Coll. of Foreign Languages, Korea; Email: hdkang2k@hanmail.net). 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Bridging the gap: Discourse in text-based foreign language classrooms. Foreign Language Annals (New York, USA), 35, 4 (2002), 437—56.03—266 Martin, William M. (U. of Pennsylvania, USA) and Lomperis, Anne E.. Determining the cost benefit, the return on investment, and the intangible impacts of language programmes for development. TESOL Quarterly (Alexandria, VA, USA), 36, 3 (2002), 399—429.03—267 Master, Peter (San Jose State U., CA, USA: Email: pmaster@sjsu.edu). Information structure and English article pedagogy. System (Oxford, UK), 30, 3 (2002), 331—48.03—268 Mertens, Jürgen. Schrift im Französischunterricht in der Grundschule: Lernehemnis oder Lernhilfe? [Writing in teaching French in primary school: Learning aid or hindrance?] Neusprachliche Mitteilungen aus Wissenschaft und Praxis (Berlin, Germany), 55, 3 (2002), 141–49.03—269 Meskill, Carla (U. at Albany, USA; Email: cmeskill@uamail.albany.edu), Mossop, Jonathan, DiAngelo, Stephen and Pasquale, Rosalie K.. 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Applied Linguistics (Oxford, UK), 23, 3 (2002), 323—47.03—273 O'Sullivan, Emer (Johann Wolfgang Goethe-U. Frankfurt, Germany; Email: osullivan@em.uni-frankfurt.de) and Rösler, Dietmar. Fremdsprachenlernen und Kinder-und Jugendliteratur: Eine kritische Bestandaufsnahme. [Foreign language learning and children's literature: A critical appraisal.] Zeitschrift für Fremdsprachenforschung (Germany), 13, 1 (2002), 63—111.03—274 Pfeiffer, Waldemar (Europa Universität Viadrina – Frankfurt an der Oder, Germany). Möglichkeiten und Grenzen der interkulturellen Sprachvermittlung. [The possibilities and limits of intercultural language teaching.] Glottodidactica (Poznán, Poland), 28 (2002), 125—39.03—275 Rebel, Karlheinz (U. Tübingen, Germany) and Wilson, Sybil. Das Portfolio in Schule und Lehrerbildung (I). [The portfolio in school and the image of a teacher (I).] Fremdsprachenunterricht (Berlin, Germany), 4 (2002), 263–71.03—276 Sonaiya, Remi (Obafemi Awolowo U., Ile-ife, Nigeria). Autonomous language learning in Africa: A mismatch of cultural assumptions. Language, Culture and Curriculum (Clevedon, UK), 15, 2 (2002), 106—16.03—277 Stapleton, Paul (Hokkaido U., Japan; Email: paul@ilcs.hokudai.ac.jp). Critical thinking in Japanese L2 writing: Rethinking tired constructs. ELT Journal (Oxford, UK), 56, 3 (2002), 250—57.03—278 Sullivan, Patricia (Office of English Language Progs., Dept. of State, Washington, USA, Email: psullivan@pd.state.gov) and Girginer, Handan. The use of discourse analysis to enhance ESP teacher knowledge: An example using aviation English. English for Specific Purposes (Amsterdam, The Netherlands), 21, 4 (2002), 397—404.03—279 Tang, Eunice (City U. of Hong Kong) and Nesi, Hilary (U. of Warwick, UK; Email: H.J.Nesi@warwick.ac.uk). Teaching vocabulary in two Chinese classrooms: Schoolchildren's exposure to English words in Hong Kong and Guangzhou. Language Teaching Research (London, UK), 7, 1 (2003), 65—97.03—280 Timmis, Ivor (Leeds Metropolitan U., UK; Email: i.timmis@lmu.ac.uk). Native-speaker norms and International English: A classroom view. ELT Journal (Oxford, UK), 56, 3 (2002), 240—49.03—281 Toole, Janine and Heift, Trude (Simon Fraser U., Bumaby, BC, Canada; Email: toole@sfu.ca). The Tutor Assistant: An authoring tool for an Intelligent Language Tutoring System. Computer Assisted Language Learning (Lisse, The Netherlands), 15, 4 (2002), 373—86.03—282 Turner, Karen and Turvey, Anne (Inst. of Ed., U. of London, UK; Email: k.turner@ioe.ac.uk). The space between shared understandings of the teaching of grammar in English and French to Year 7 learners: Student teachers working collaboratively. Language Awareness (Clevedon, UK), 11, 2 (2002), 100—13.03—283 Warschauer, Mark (U. of California, USA). A developmental perspective on technology in language education. TESOL Quarterly (Alexandria, VA, USA), 36, 3 (2002), 453—75.03—284 Weasenforth, Donald (The George Washington U., USA; Email: weasenf@gwu.edu), Biesenbach-Lucas, Sigrun and Meloni, Christine. Realising constructivist objectives through collaborative technologies: Threaded discussions. Language Learning and Technology (http://llt.msu.edu/), 6, 3 (2002), 58—86.