Table Of ContentEightEEnth-CEntury russian MusiC
Eighteenth-Century russian Music
Marina ritzarEv
Bar-Ilan University, Israel
First published 2006 by Ashgate Publishing
Published 2016 by Routledge
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Copyright © Marina ritzarev 2006
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British Library Cataloguing in Publication Data
ritzarev, Marina
Eighteenth-century russian music
1.Music – russia – 18th century – history and criticism
i.title
780.9’47’09033
Library of Congress Cataloging-in-Publication Data
ritzarev, Marina.
Eighteenth-century russian music / Marina ritzarev.
p.cm.
includes bibliographical references and index.
ISBN 0-7546-3466-3 (alk. paper)
1. Music—russia—18th century—history and criticism. i. title.
ML300.3.r58 2006
780’.947’09033—dc22
2005024441
ISBN 13: 978-0-7546-3466-9 (hbk)
Contents
List of Figures and Tables ix
List of Music Examples xiii
Preface xxi
Acknowledgements xxiii
Note on Abbreviations, Transliteration and Dates xxv
1 Rethinking Eighteenth-Century Russian Music 1
historiography in the nineteenth and twentieth Centuries 2
the Complexity of russian identity 9
two Capitals 11
2 Pre-Petrine Legacy 15
Folklore 15
the rise and Fall of Skomorokhi Culture 16
Seeking an Art-Music Tradition (Seventeenth Century) 22
religious Chant 23
Kanty and Psalmy 29
Ukrainization 30
instrumental Music 31
Music in the theatre 32
3 Toward the New Russian Idiom: Between Germans and Italians;
Between Italians and Russians 35
Peter the great – Pro-german and anti-italian 35
Empress anna – Pro-italian 39
araja in the 1740s 46
gregory teplov and russian song 47
Kirill Razumovsky and Russian Opera 52
Semen Naryshkin and Russian Horn Music 56
araja’s rise and Fall in the 1750s 62
4 At the Court of Grand Duke Peter Fedorovich 65
Vincenzo Manfredini at the Oranienbaum Court 68
Maxim Berezovsky’s Early Career 70
5 The ‘Thaw’ of the 1760s 79
Manfredini in the 1760s 79
Baldassare galuppi 81
vi Eighteenth-Century Russian Music
Berezovsky: Choral Work of the 1760s 86
Liturgy 91
Berezovsky Leaves for Italy 101
The Young Dmitry Bortniansky 105
6 Lessons of the 1770s: Berezovsky and Bortniansky in Italy 109
Bortniansky’s Missions 109
Berezovsky’s Studies 111
tommaso traetta at the russian Court 119
Bortniansky’s Ordeal by Opera 121
The Moral of Berezovsky 124
Bortniansky’s Redemption 130
7 The City in the 1770s 139
Paisiello at the russian Court 139
From Song to Song-Opera 141
8 Bortniansky and the 1780s 155
Bortniansky’s Return to Russia 156
Bortniansky’s Concertos of the 1780s 160
Bortniansky at the Young Court 170
9 The Late Eighteenth-Century Russian Salon 183
Foreign virtuosi 184
Ivan Khandoshkin and the Rus’ian Idiom 195
at the Lvov house or the temple of rus’ian idiom 199
the Eighteenth-Century russian idiom: Policy, Perception,
Proofs 206
10 Sarti in Russia 215
Sarti and Prince Potemkin 217
Cimarosa’s russian Episode 222
sarti returns to st Petersburg 223
sheremetev and sarti 224
Back to the Imperial Court 225
russian spiritual Compositions 227
11 1790s: Muses and Cannons 235
the Polonaise: Polish honour and russian Empire 235
Marseillaise and russian Monarchs 246
russian Freemasonry and Music 249
Contents vii
12 Master and Serf 255
at the Court of Count sheremetev 256
Stepan Anikeevich Degtyarev 264
Degtyarev’s Pseudonyms 265
serf-Freelancer 268
Degtyarev’s Choral Music: aesthetics and style 272
Early Concertos 274
Late Concertos 278
redactions 280
13 The Choral Concerto in the 1790s 289
artemy vedel 298
Bortniansky’s 1790s Concertos 304
14 Bortniansky in the Nineteenth Century 313
repertoire 319
Public Life 329
Family 331
Bortniansky and the Nineteenth Century 335
Bibliography 349
Index 365
List of Figures and tables
Figures
2.1 Performance of skomorokhi. Drawing from Adam Olearius’ Journey to
Muscovy (seventeenth century). From Findeizen (1928, I:157) 21
2.2 sticheron by tsar ivan the terrible. Early type of score. End of the
sixteenth/beginning of the seventeenth century. rgB, f 304, no 428,
L 99v. Courtesy Rossiyskaya Gosudarstvennaya biblioteka, Moscow 24
2.3 Kant ‘Krepky, chyudny, beskonechny’. Text by V. Trediakovsky
(versification of Psalm 144:2 ‘My goodness, and my fortress; my high
tower, and my deliverer’), 1744. From Livanova (Sbornik kantov XVIII
veka. 1952, Supplement to vol. 1:128). Courtesy Publishing House
“Muzyka”, Moscow 28
2.4 scene from the comedy Parable on the Prodigal Son by simeon
Polotsky from the 1685 edition, Moscow. From Findeizen
(1928, I:322) 33
3.1 Leonhard Euler (1707–83), I. Stenglin after an original by Handmann.
Mezzotint. st Petersburg, 1768. Courtesy the state hermitage Museum,
st Petersburg. 38
3.2 Francesco Araja (1709 – after 1775), portrait by unknown artist.
Courtesy st Petersburg state Museum of theatre and Music © 40
3.3 Jacob von Stählin (1712–85), St Petersburg. From Findeizen
(1929, II:32) 42
3.4 Gregory Teplov (1717–79), portrait by D. Levitsky, oil. From Portraits
Russes by Grand Duke Nikolai Mikhaylovich (St Petersburg, 1905,
vol. 5, no 160) 51
3.5 tobacco box made in imperial porcelain factory depicting music from
araja’s Tsefal i Prokris, 1750s. Courtesy state russian Museum, st
Petersburg 54
3.6 russian horn band of the late eighteenth century. From Findeizen (1929,
II:87) 57
