Eighteenth-century Russian Music

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Ashgate Publishing, Ltd., 2006 - Music - 388 pages
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Little is known outside of Russia about the nation's musical heritage prior to the nineteenth century. Western scholarship has tended to the view that the history of Russian music did not begin until the end of the eighteenth century. Marina Ritzarev's work shows this interpretation to be misguided. Starting from an examination of the rich legacy of Russian music up to 1700, she explores the development of music over the course of the eighteenth century, a period of especially intense Westernization and secularization. The book focuses on what is characteristic and crucial to Russian music during this period, rather than seeking to provide a comprehensive survey. The musical culture of the time is discussed against the rich background of social, political and cultural life, tying together many of the phenomena that used to be viewed separately. The book highlights the importance of previously marginalized sectors - serf culture, choral sacred culture, the contribution of foreign musicians, the significant influence of Freemasonry, the role of Ukrainian and West-European cultures and so on - as well as casting new light on the well-researched topic of Russian opera. leading eighteenth-century Russian composers, Maxim Berezovsky and Dmitry Bortniansky, are provided, as well as those of the serf composer Stepan Degtyarev and the Italian Giuseppe Sarti. The book places eighteenth-century Russian music on the European map, and will be of particular importance for the study of European musical cultures remote from such centres as Italy, Germany-Austria and France. Eighteenth-century Russian music is organically linked with its past and future and its contributory role in forming the Russian national identity and developing the Russian idiom is clarified.
 

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Contents

Rethinking EighteenthCentury Russian Music
1
PrePetrine Legacy
15
Between Germans and Italians
35
At the Court of Grand Duke Peter Fedorovich
65
TheThawof the 1760s
79
Berezovsky and Bortniansky in Italy
109
The City in the 1770s
139
Bortniansky and the 1780s
155
Sarti in Russia
215
Muses and Cannons
235
Master and Serf
255
The Choral Concerto in the 1790s
289
Bortniansky in the Nineteenth Century
313
Bibliography
349
Index
365
Copyright

The Late EighteenthCentury Russian Salon
183

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About the author (2006)

Marina Ritzarev is a Professor at the Department of Music, Bar-Ilan University, Israel.

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