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Абдоков Ю. Б. Метафоро-символическая онтология оркестра и симфоническая метафизика Бориса Чайковского // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 30. С. 138-152. DOI: 10.15382/sturV201830.138-152
This article analyses the phenomenon of the orchestral rendering of the visible and the audible worlds. It discusses musical and poetical attributes of “orchestral natural philosophy” characteristic of many prominent masters of national schools and aesthetic trends. It also defi nes religious etymology of orchestral painting of Boris Tchaikovsky (1925‒1996), one of Russia’s greatest composers of the 20th century. B. Tchaikovsky’s symphonic aesthetics is viewed as a religious and metaphysical concept aimed at uniting man with the world of sublime values.
orchestra, timbral palette, “orchestral pantheism”, religious etymology, symphonic metaphysics, Boris Tchaikovsky
  1. Gachev G., Muzyka i svetovaia tsivilizatsiia, Moscow, 2008.
  2. Gesse G., Ekstsentricheskie povesti (perevod s nemetskogo G. Snezhinskoi), St. Petersburg, Moscow, 2010.
  3. Zhakote F., Peizazhi s propavshimi fi gurami (perevod s frantsuzskogo A. Kuznetsovoi), St. Petersburg, 2005.
  4. Kleopa (Ilie), arkhim., O snakh i videniiakh (perevod s rumynskogo Z. Peikovoi), Moscow, 2016.
  5. Losskii N., Filosofiia i publitsistika. Izbrannye stati, Moscow, 2017.
  6. Prp. Iustin Popovich, Filosofskie propasti (perevod s serbskogo M. Iatsenko pod red. E. Iakushkinoi), Moscow, 2005.
  7. Reskin Dzh., Zakony Fiezolo (perevod s angliiskogo pod red. L. Nikiforova), Moscow, 2007.
  8. Rilke R.-M., Florentiiskii dnevnik. Iz rannei prozy (perevod s nemetskogo V. Bakuseva), Moscow, 2001.
  9. Sviridov G., Muzyka kak sudba, Moscow, 2002.
  10. Khoking S., Mlodinov L., Vysshii zamysel (perevod s angliiskogo M. Kononova pod red. G. Burby), St. Petersburg, 2013.
  11. Choran (Sioran) E., Priznaniia i prokliatiia (perevod s frantsuzskogo O. Akimovoi), St. Petersburg, 2004.
Abdokov Yuri
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Абдоков Ю. Б. Оркестровая поэтика пятой симфонии Николая Пейко: этос, лексика, стиль // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2018. Вып. 31. С. 159-174. DOI: 10.15382/sturV201831.159-174
This article deals with the orchestral and, in a broader sense, transcendental poetics of one of the most signifi cant phenomena of Russian symphonic music of the 20th century, namely N. I. Peyko’s Fifth Symphony. This topic has not been studied earlier in a broad context of aesthetic, lexical, metaphysical, imagery-related and poetical problems. The Christian ethos of the “orchestral poetry” is examined in the perspective of the religious outlook of the artist, who has found a natural and vivid expression in the sphere of non-programme, secular academic music. The orchestral language and religious, imagery-related poetical ontology of the score are being analysed in their relationship with problems of the conductor’s interpretation.
Nikolay Peyko, orchestral poetics, ethos, lexicon, symphonic metaphysics, style, interpretation
  1. Florenskii P., priest. (2017) Istoriia i fi losofi ia iskusstva [History and Philosophy of Art]. Moscow (in Russian).
  2. Ionesco E. (1999) Mezhdu zhizn'iu i snovideniem [Between Life and Dream]. St. Petersburg (in Russian).
  3. Iustin (Popovich) (2005) Filosofskie propasti [Abysses of Philosophy]. Moscow (in Russian).
  4. Khart D. (2010) Krasota beskonechnogo: Estetika khristianskoi istiny [The Beauty of the Endless. Aesthetics of the Christian Truth]. Moscow (in Russian).
  5. Solovyev V. (2017) Krasota kak preobrazhaiushchaia sila [Beauty as the Power of Transfi guration]. Moscow (in Russian).
Abdokov Yuri
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Абдоков Ю. Б. У истоков поэтики оркестра // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2019. Вып. 35. С. 181-207. DOI: 10.15382/sturV201935.181-207
This article analyses the nature of comprehension of orchestra writing. It substantiates the morphological correlation between artistic practice and orchestrating theory as integral part of the process of composing music in the context of understanding stylistic etymology in art. It emphasises the symbolic and semiological character of the orchestral language as one of the most perfect means of expression of aesthetical and metaphysical ideas. The methodology of the analysis is based on viewing the art of orchestrating in the context of a wide range of professional and composing-related, historical and aesthetical, philosophical and religious problems. It denies the priority of the linear and evolutionary approach to the study of development of orchestrating. The article off ers arguments for the insuffi ciency of exclusively instrument-related, formal and techicising assessment of the most important factors of orchestral style-formation. It also proposes ways of relevant scientifi c cognition of orchestral vocabulary in a wide historical and stylistic dimension, taking into account the achievements of modern performing practice, including historical (authentic). For the fi rst time, the main categories of orchestral poetics are formulated, i.e. the logic of spatial and proactive thinking, timbral progression, texture agility, coloristic dramaturgy, orchestral tectonics, timbre “optics”, metaphorical and symbolical ontology of orchestra. The poetic basis of orchestral writing is interpreted as an integral unity of universal (generally valid) and personal (author’s individual) aesthetic categories from which the style of the epoch is being derived, as well as poetical originality of specifi c artistic trends and authors. Poetics of orchestral writing is viewed as the mainstay of modern orchestral science, the major principle of which is derivation of analytical inventory from specific (possible to be analysed) artistic artifacts, rather than from unifi ed schemes of general usage.
orchestra, poetics, orchestration, theory of orchestral writing, orchestral style, organology, evolution, style diagnostics
  1. Adamovich G. (2015) Literaturnye besedy (Zveno: 1923‒1928) [Literary Conversations (Unit: 1923‒1928)]. Moscow (in Russian).
  2. Bakhtin M. (2017) Avtor i geroi v esteticheskom sobytii [Author and Hero in the Aesthetic Event]. Moscow; St. Petersburg (in Russian).
  3. Blagodatov G. (1970) Istoriia simfonicheskogo orkestra [History of the Symphonic Orchestra]. Leningrad (in Russian).
  4. Cars A. (1990) Istoriia orkestrovki [The History of Orchestration]. Moscow (Russian translation by E. Lenivtsev, V. Ferman, N. Korndorf).
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  6. Gardiner J. (2015) Bach: Music in the Castle of Heaven. New York.
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  9. Harnoncourt N. (2009) Musik als Klangrede. Wege zu einem neuen Musikverstandnis. Essays und Vortäge. Salzburg; Wien: Residenz Verlag.
  10. Harnoncourt N. (2014) «… es ging immer um Musik»: eine Rückschau in Gesprächen. Salzburg; Wien: Residenz Verlag.
  11. Huizinga J. (2017) Teni zavtrashnego dnia [The Shadows of Tomorrow]. St. Petersburg (Russian translation by D. Sil'vestrov).
  12. Ionesko E. (1999) Mezhdu zhizn'iu i snovideniem. Besedy s Klodom Bonfua [Between the Life and the Dream. In Conversation with Claude Bonnefoy]. St. Petersburg (Russian translation by I. Kuznetsova).
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  18. Spengler O. (1993) Zakat Evropy [The Decline of Europe], vol. 1. Moscow (Russian translation by K. Svas'ian).
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  21. Zabolotskii N. (2014) Mysl' — Obraz — Muzyka [Thought — Image — Music], in Metamorfozy. Nikolai Zabolotskii. Moscow (in Russian).
Abdokov Yuri
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Абдоков Ю. Б. Герман Галынин: «свеча, горящая с обоих концов». Камерно-оркестровая и ансамблевая музыка для струнных // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2020. Вып. 38. С. 161-178. DOI: 10.15382/sturV202038.161-178
This article deals with key events in the life and work of the outstanding Russian composer of the 20th century, Herman Galynin (1922‒1966), whose artistic heritage is one of the obvious lacunae in modern Russian art history. Due to the initiatives of the international creative workshop Terra Musica over the past two years, all of the composer's chamber-orchestral and string-ensemble opera without exception were performed and recorded for the fi rst time for the British company Toccata Classics. The preparation of these recordings required a thorough intertextual analysis of the most striking scores, strangely excluded from the concert repertoire and academic publicity. The article clarifi es and systematises information about the diffi cult and tragic fate of the artist. For the fi rst time, it studies the entire corpus of H. Galynin's chamber-orchestral and ensemble compositions for various string ensembles. These are two string quartets, a suite for string orchestra, aria and scherzo for violin and string orchestra. Most of these works have never been dealt with in the context of a phenomenological analysis that addresses a wide range of issues of professional and aesthetic, historiographical, and metaphysical nature. The methodology applied is based on lexical attribution of the author's style, poetics, and of the composer's ethos. For the fi rst time, the questions of stylistically adequate interpretation of all the considered scores have been raised. One of the important components of the analysis is a connection of the studied works with the fundamental problems of theory and practice of modern instrumental (orchestral) writing. The article argues for the need to revise a number of published “editions” that appeared during the preparation and implementation of the fi rst world (digital) recordings of all string scores by Herman Galynin.
Herman Galynin, string orchestra, score, quartet, style, poetics, interpretation, ethos
  1. Abdokov Iu. (2020) Nikolai Peiko. Vospolnivshi tainu svoiu… [Nikolai Peiko. Having fulfi lled one’s mystery…]. Moscow (in Russian).
  2. Chaikovskii B. (2001) “Stat'ia o G. Galynine” [Essay on G. Galynin]. In K. Korganov. Boris Chaikovskii: lichnost' i tvorchestvo [Boris Chaikovsky: Personality and work in art]. Moscow (in Russian).
  3. Dorman O. (2013) Nota. Zhizn' Rudol'fa Barshaia, rasskazannaia im v fi l'me Olega Dormana. [A musical note. The life of Rudolf Barshay, narrated by himself in Oleg Dorman’s film]. Moscow (in Russian).
  4. Prishvin M. (2016) Dnevniki: 1950‒1951. [Diaries: 1950‒1051]. St Petersburg (in Russian).
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Abdokov Yuri
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.
Абдоков Ю. Б. Николай Мясковский: «Да не смущается сердце твое…». Жизнь как высвобождающееся призвание // Вестник ПСТГУ. Серия V: Вопросы истории и теории христианского искусства. 2021. Вып. 42. С. 79-114. DOI: 10.15382/sturV202142.79-114
The article deals with the most important components of the creative biography of Nikolay Yakovlevich Myaskovsky (1881–1950). A whole corpus of literature is devoted to the life and work of the composer. But even at the beginning of the 21st century, the portrait of one of the most prominent Russian musicians remains incomplete, and in many lifetime and posthumous studies it is deliberately distorted, at least partially. There is no doubt that the new biography of the composer should be based not on ideological cliches that illusorily “reconcile” Myaskovsky with a certain social and aesthetic reality, but on his music (outside of pseudo-“conservative” and false-“liberal” attributions), the grandiose and mostly unexplored archive of the artist, as well as the testimonies of those who were really close to Myaskovsky professionally and spiritually. For the fi rst time, documents from the composer’s archive are published, as well as memoirs of his outstanding students and contemporaries of diff erent generations, i.e. N. I. Peyko, B. A. Tchaikovsky, K. S. Khachaturian, M. S. Rostropovich, recorded by the author of the article. Unique epistolary materials and vivid memoir notes allow us to understand and in some cases — for the fi rst time — to verify individual facts and phenomena without which a full-fledged portrait of the composer is unthinkable. Thus, the sources presented in the article open up the possibility of comprehending a topic excluded from most offi cial biographies of the composer, i.e. not only the history of the formation of the versatile temperament of the artist-aristocrat, but also the formation of his soul. The same applies to the events of the late 40s and the fearless position of Myaskovsky during the “antiformalist campaign”. The study of historical artifacts and their extrapolation to the composer’s creative heritage allows us to formulate the main concepts of Myaskovsky’s unique artistic ethos, which is very far from both the arrogant orientation “for the initiated” and the false “academism”, which often, and most importantly, mistakenly explain the characteristic features of the perception of the composer’s music today.
Nikolay Myaskovsky, Nikolay Peyko, Boris Tchaikovsky, Karen Khachaturian, composer, biography, creation, ethos
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  7. Lamm O. (1989) Stranitsy tvorcheskoi biografi i Miaskovskogo [The pages of the Myaskovsky’s creative biography]. Moscow (in Russian).
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  9. Miaskovsky N. (1959) Stat’i, pis’ma, vospominaniia [Articles, letters, recollections]. Moscow (in Russian).
  10. Tassie G. (2014) Nikolay Myaskovsky. The conscience of Russian music. Lanham (Maryland).
Abdokov Yuri
Academic Degree: Candidate of Sciences* in Art Criticism;
Academic Rank: Professor;
Place of work: Tchaikovsky Moscow State Conservatory; 13/6 Bolshaya Nikitskaya Street Moscow, 125009, Russian Federation;
Post: professor;
ORCID: 0000-0001-9033-3279;
Email: abdokovgeorg@mail.ru. *According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.