Abstract: The article is a review of the concerts of Bulgarian musicians in Moscow. The author mentions the concerts of musicians, well-known in Europe and the USA, - Stefan Dragostinov and his folklore band, instrumental trio of the Vladigerovs, and a violinist Pavel Minaev. The author gives brief characteristics of the performance by the pianist Victoria Vassilenko, the singers Marianna Tsvetkova and Maria Zhekova. The review is focused on the concert of the singer Plamen Beykov and the pianist Bozhena Petrova “Shostakovich. The afterword” with a subtitle “Shostakovich, Michelangelo and Dostoyevsky in music, poems and images”, presented as a multimedia project. The author uses the historical method and the method of the study of art, which help analyze the performance of the late compositions of Shostakovich by the Bulgarian musicians. They performed these compositions in Moscow for the first time. Special attention is given to the use of an innovative multimedia format of the concert using demonstrative materials from the works of Michelangelo Buonarrotti, Dostoyevsky’s and Shostakovich’s drawings. This approach allows extend the capabilities of the modern performers’ interpretation of the music of the 20th century. 

Keywords: Richard Strauss, Marianna Tsvetkova, Boris Christoff, interpretation , multimedia project , Plamen Beykov, Dostoyevsky, Michelangelo Buonarrotti sonnets , Shostakovich the afterword , Bulgarian music performance

References:
Akopyan L. O. Dmitriy Shostakovich: opyt fenomenologicheskogo analiza. Spb, 2004. 474 s.

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour Europe and the New Word, and successfully participate in multiple international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of Vladigerov family in arrangements, as well as Dmitri Shostakovich’s miniatures. The material presented in this article is substantiated by the genre comparative analysis traditional for a review, as well as historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, impeccable command of the musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The demonstrated by the Vladigerovs’ Trio sparkling temperament and distinct national Bulgarian character, was received by the Moscow audience with great enthusiasm.

Keywords: the Marionette-Theater Schönbrunn Palace (Vienna), Max Reinhardt, the Moscow Conservatory, the Rachmaninov Concert Hall, Alxander Vladigerov, Konstantin Vladigerov, Ekaterina Vladigerov, Pancho Vladigerov, the Embassy of the Republic of Bulgaria, the Bulgarian Cultural Institute

References:
Fedotova, V. N. Bolgarskaya muzyka XX veka v kontekste natsional'noy khudozhestvennoy kul'tury. Ocherki. - M.: Izd-vo "Muzizdat", 2012. - 320 s.

Abstract: This report is dedicated to the event, which represents a significant interest to the music science: international scientific conference “Russian Musical Baroque: Tendencies and Perspectives of Research” that took place in the State Institute for Art Studies on October 24-26, 2016. Interest towards the Russian musical Baroque is currently growing in Russian and abroad, thus, this conference provided an occasion to discuss a number of topical questions, related to the exploration of the manuscript legacy of that epoch, the history and theory of partesnïy (part-song) polyphony, the peculiarities of the system of polyphonic genres (including non-liturgical and paraliturgical ones), the restoration of the biographies and the creative output of individual musicians, the evolution of music-theoretical thought about the music of the aforementioned era. further, the conference will help to reveal parallels and intersections in the development of Russian, East-European, and West-European baroque.
During the course of their studying, the authors applied the methodology of theoretical analysis and source study, historical and stylistic approaches, methods of systemic and comparative analysis. Russian musical Baroque for the first time became the topic of a fundamental international conference, which was called upon to determine the most recent trends in examination of this era, synthesize the modern scientific achievements, promote new research, as well as help restore an integral, and at the same time, multifaceted image of the Russian culture of the late XVII– middle of the XVII centuries that reflected the connections with Polish, Italian, German, and French musicians. It is for the first time that Russian musical baroque becomes a subject matter for an extensive range of opinions within the framework of the scientific event, expressed by the luminaries of Russian science, alongside the young scholars, including a number of foreign guests.

Keywords: Western European influence, Polish musicians, historical treatises, choral culture, the State Institute for Art Studies, international scientific conference, partesnïy (part-song) style, tercet, medieval monody, Russian musical Baroque

References:
Konotop, A. V. Russkoe strochnoe mnogogolosie XV–XVII vekov. Tekstologiya. Stil'. Kul'turnyy kontekst / A. V. Konotop. – M.: Kompozitor, 2005. – 352 s., CD.
Plotnikova, N. Yu. Partesnye garmonizatsii znamennogo i grecheskogo rospevov (na materiale stikhiry «Sovet prevechnyy» iz Sluzhby Blagoveshcheniya Presvyatoy Bogoroditse): Issledovanie i publikatsiya / N. Yu. Plotnikova. – M.: Kompozitor, 2004. – 200 s.
Plotnikova, N. Yu. Russkoe partesnoe mnogogolosie kontsa XVII – XVIII vekov. Sluzhby Bozhii Vasiliya Titova: Issledovanie i publikatsiya / N. Yu. Plotnikova. – M.: izd-vo PSTGU, 2012. – 262 s.
Plotnikova, N. Yu. Russkoe partesnoe mnogogolosie kontsa XVII – serediny XVIII veka: istochnikovedenie, istoriya, teoriya / N. Yu. Plotnikova. – M.: GII, 2015. – 340 s.

Abstract: On September 17, the Rachmaninov Concert Hall of the Moscow Conservatory held the concert of the famous Bulgarian musicians Ekaterina, Konstantin, and Alexander Vladigerovs dedicated to the 150th Anniversary of the prominent Russian university. The musicians actively tour in Europe and the New Word, and successfully participate in various international jazz festivals. Their works are also available on CD. The concert contained the compositions of various generations of the Vladigerov family in arrangements and Dmitri Shostakovich’s miniatures. The material presentation in the article is determined by comparative analysis, traditional for reviews, and the historical angle of presentation of the events. The review underlines the high-level mastery of the musicians, perfect command of musical instruments, remarkable artistic impression, refined and versatile timbre and sound scales of performance. The musicians' sparkling temperament, typical for the national Bulgarian character, was enthusiastically welcomed by Moscow audience.

Keywords: Pancho Vladigerov, Ekaterina Vladigerov, Konstantin Vladigerov, Alxander Vladigerov, Rachmaninov Concert Hall, Moscow Conservatory, Max Reinhardt, Marionette-heater Schönbrunn Palace (Vienna), Embassy of the Republic of Bulgaria, Bulgarian Cultural Institute

References:
Fedotova, V. N. Bolgarskaya muzyka XX veka v kontekste natsional'noi khudozhestvennoi kul'tury. Ocherki.-M.: Izd-vo "Muzizdat", 2012.-320 s

Abstract: The author of the book is Doctor of Arts, Professor at the Moscow State P.I. Tchaikovsky Conservatory, Valentina Nikolayevna Kholopova. The object of the research is serious, classical music in general examined from the most varied sides: the history of the concept of “music,” the functions of music, the musical image, music as a language and musical intonation. A special direction of this work is the content of music, which has set the issues of comparison of “content” with “semantics” and “hermeneutics,” and has examined special concepts of music content – “specialized and non-specialized musical content” and “three sides of musical content.” Content is also examined in the triad of composer, performer and listener. Involving the psychological aspect led to the problems of conscious and subconscious in the perception of music, as well as psychological analysis of musical form. The axiological aspect has also been brought in due to the elaboration of criteria of artistic value in music. The methodology of research, thereby, became complex and interdisciplinary, having connected theoretical and historical musicology, the foundations of aesthetics, philosophy, semiotics, psychology, linguistics and axiology. The novelty of the work consists in the indicated complexity of methodology, making it possible to disclose previously undemonstrated features of the art of music – the correlation of the sides of content in various epochs, among various composers and performers, in various compositions, the differentiation of musical epochs according to the signs of canon and heuristics, the role of emotions in music, the manifestation of musical intonation in the phenomenon of sonority and pitch, the assertion of music as a language, the establishment of the role of the conscious and subconscious, the typology of listeners to music, and introduction of an original system of artistic value in music. This work merits to be translated into other languages, because of its fundamental nature, modernity and lack of precedent in world musicology.

Keywords: listener, musician-performer, canon and heuristics, psychology of form, musical language, musical content, intonation, image, music, artistic value

References:
Kholopova, Valentina. Muzika kak vid iskusstva [Music as an Art]. M., 1990/91; Moscow, 1994; St. Petersburg., 2000, 2002, 2014.
Kholopova, Valentina. Musikal’nye emotsii [Musical Emotions]. Moscow, 2010, 2012.
Kholopova, Valentina. Oblast’ bessoznatel’nogo v vospriyatii musykal’nogo soderzhaniia [The Realm of the Subconscious in the Perception of Musical Content]. Moscow, 2002.
Kholopova, Valentina. Spezial’noe i nespezial’noe musikal’noe soderzhaniie [Specialized and Non-Specialized Musical Content]. Moscow, 2002, 2008.
Kholopova, Valentina. Tri storony muzykal’nogo soderzhaniia [The Three Sides of Musical Content] // Musykal’noe soderzhaniie: nauka i pedagogika [Musical Content: Scholarship and Pedagogy]. Moscow-Ufa, 2002.
Kazantseva, Liudmila. Osnovy teorii musykal’nogo soderzhaniia [The Foundations of the Theory of Musical Content]. Astrakhan’, 2001,2009.
Shaymukhametova, Liudmila. Semanticheskiy analiz musykal’noy temy [A Semantic Analysis of the Musical Theme]. Moscow, 1998.

Abstract: Автором книги является доктор искусствоведения, профессор Московской гос. консерватории им. П.И.Чайковского Валентина Николаевна Холопова. Предметом исследования стало академическое музыкальное искусство в целом, рассмотренное с самых разных сторон: история понятия «музыка», функции музыки, музыкальный образ, музыка как язык, музыкальная интонация. Особым направлением труда стало музыкальное содержание, благодаря чему были поставлены проблемы сравнения «содержания» с «семантикой» и «герменевтикой», рассмотрены особые понятия музыкального содержания – «специальное и неспециальное музыкальное содержание», «три стороны музыкального содержания». Содержание рассмотрено также в триаде: композитор, исполнитель, слушатель. Подключение психологического аспекта подвело к проблемам сознательного и бессознательного в восприятии музыки, психологического анализа музыкальной формы. Внесен также и аксиологический аспект, благодаря разработке критериев художественной ценности в музыке. Методология исследования, таким образом, стала комплексной, междисциплинарной, соединившей теоретическое и историческое музыкознание, установки эстетики, философии, семиотики, психологии, языкознания, аксиология. Новизна работы состоит в указанной комплексности методологии, позволившей открыть ранее непоказанные свойства музыкального искусства – соотношение сторон содержания в разные эпохи, у разных композиторов и исполнителей, в разных произведениях, разграничение музыкальных эпох по признакам канона и эвристики, роль эмоций в музыке, проявление музыкальной интонации в явлениях сонора и звука, утверждение музыки как языка, установление роли сознательного/бессознательного, типология слушателей музыки, введение оригинальной системы художественной ценности в музыке. Труд заслуживает перевода на иностранные языки, благодаря его фундаментальности, современности и отсутствию аналогов в иностранном музыкознании.

Keywords: muzyka, obraz, intonatsiya, psikhologiya formy, kanon i evristika

References:
Холопова В.Н. Музыка как вид искусства. М., 1990/91; М.,1994; СПб., 2000, 2002, 2014.
Холопова В.Н. Музыкальные эмоции. М., 2010, 2012.
Холопова В.Н. Область бессознательного в восприятии музыкального содержания. М., 2002.
Холопова В.Н. Специальное и неспециальное музыкальное содержание. М., 2002, 2008.
Холопова В.Н.Три стороны музыкального содержания //Музыкальное содержание: наука и педагогика. М.-Уфа, 2002.
Казанцева Л.П. Основы теории музыкального содержания. Астрахань, 2001, 2009.
Шаймухаметова Л.Н. Семантический анализ музыкальной темы. М.,1998.
Чередниченко Т. Избранное. М.,2012.
Agawu V.K. Playing with Sings: a Semiotic Interpretation of Classic Music. Princeton,1991.
Dahlhaus C.Die Idee der absoluten Musik. Leipzig,1979.
Karbusicky V. Grundriss der musiklalischen Semantik. Darmstadt, 1986.
Kretschmar H. Gesammelte Aufsätze über Musik. Bd.2. Leipzig, 1911.
Mattheson J. Der vollkommene Kapellmeister. Hamburg, 1739.
Ratner L. Classic Mus

Abstract: The author of the book is Dr Valentina Nikolayevna Kholopova, who is a professor at the Moscow State Tchaikovsky Conservatory. The subject of the research is the performing art of the outstanding musician of modernity, Vladimir Spivakov. The biography shows his formation as a violinist and conductor, the founding of the “Virtuosi of Moscow” chamber orchestra, the “National Philharmonic Orchestra” and the “International Beneficiary Foundation,” his work as the president of the Moscow International House of Music and as organizer of international festivals. Analysis is presented of many of Spivakov’s interpretations, from Vivaldi and Mozart to Franck, Brahms, Rachmaninoff, Mahler, Schoenberg, Shostakovich and Schnittke. The book applies historical-documentary and musical-analytical methods of research on the basis of musical scores and live performance sound. The novelty of the work is determined by the fact that for the first time the basic facts of Spivakov’s artistic biography are systematized in it, his evolution is traced from a solo violinist to a conductor of a large symphony orchestra, and the significance of his role in artistic culture is discosed.

Keywords: music, biography, violin, orchestra, chorus, conductor, foundation, festival, tours, interpretation

References:
Barankin, E. “Virtuozy Moskvy”: chetyre vremeni goda [The “Virtuosi of Moscow”: the Four Seasons] //Muzykal’naya zhizhn’”. 1985. N.18. 8-9.
Virtuozy Moskvy [“The Virtuosi of Moscow”] XXV. Compiled by Evgeny Epstein. Moscow, “P. Jurgenson,” 2005. 96 pp.
Spivakov, Vladimir. Mimolyotnosti [Visions fugitives]. Moscow, “Muzyka”, 2004. 226 p.
Braeuner, Gabriel. Les années Spivakov: chronique du Festival international de musique de Colmar, 1989-2003. Strasbourg, la Nuée Blue, 2004.

Abstract: Автором книги является доктор искусствоведения, профессор Московской консерватории им. Чайковского Валентина Николаевна Холопова. Предметом исследования стало исполнительское искусство выдающегося музыканта современности Владимира Спивакова. В биографии показано становление скрипача и дирижера, создание им камерного оркестра «Виртуозы Москвы», симфонического «Национального филармонического оркестра России», «Международного благотворительного фонда», работа президентом Московского международного дома музыки, организация международных фестивалей. Анализируются многие интерпретации Спивакова, от Вивальди и Моцарта, к Франку, Брамсу, далее к Рахманинову, Малеру, Шенбергу, Шостаковичу, Шнитке. Основой исследования в книге стали историко-документальный и музыкально-аналитический методы на основе партитур и живого звучания. Новизна работы состоит в том, что в ней впервые систематизированы основные факты творческой биографии Спивакова, прослежена эволюция от солиста-скрипача до дирижера большого симфонического оркестра, раскрыта значительность его роли в художественной культуре.
В итоге, монография Валентины Холоповой о Владимире Спивакове «Путь артиста» представляет собой многогранное исследование одной из важнейших музыкальных фигур современности. Она дает знание не только жизненного пути одного человека и специфики его исполнений, но и показывает широкий срез мировой культурной жизни второй половины ХХ- начала ХХI веков. Книга достойна перевода на другие языки мира, ибо была бы интересна людям самых различных стран.

Keywords: muzyka, biografiya, skripka, orkestr, khor, dirizher, fond, gastroli, interpretatsiya

References:
Баранкин, Е. «Виртуозы Москвы»: четыре времени года //Музыкальная жизнь. 1985. №18. С.8-9.
Виртуозы Москвы XXV. Составитель Эпштейн, Евгений. Москва, «П.Юргенсон», 2005. 96 с.
Спиваков, Владимир. Мимолетности. Москва, «Музыка», 2004. 226 с.
Braeuner, Gabriel. Les années Spivakov: chronique du Festival international de musique de Colmar, 1989-2003. Strasbourg, la Nuée Blue, 2004.