MUSIC FOR CAPABLE PLAYING WITH ONE FINGER: “PARAPHRAZES” OF A.P. BORODIN, T.A. KUI, A.K. LYADOV, N.A. RIMSKY-KORSAKOV AND THEIR ORCHESTRA VERSION IN INSTRUMENTAL BY N.N. CHEREPNIN
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78
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Information about authors: Lesovichenko Andrey Mikhaylovich, Dr of Culturology, PhD in Art History, Associate Professor, Professor of Department of Folk Art Culture and Music Education, Novosibirsk State Pedagogical University (Novosibirsk, Russian Federation). E-mail: lesovichenko@mail.ru Shefova Elena Aleksandrovna, PhD in Art History, Associate Professor of Department of Musical Training and Socio-cultural Projects, Institute of Culture and Art, Lipetsk State Pedagogical P. Semenov- Tyan-Shansky University (Lipetsk, Russian Federation). E-mail: shefova_e@mail.ru
Annotation: The interesting parts of the composers’ heritage of Borodin, Cui, Lyadov and Rimsky-Korsakov are the parts of collective works created by them. The article gives a description of “Paraphrases,” the only collection of light piano pieces in the history of music, consisting of twenty-four variations and fifteen different genre numbers for the unchanging children’s theme “Ta-ti, ta-ti.” “Paraphrases” are not a formal combination of variations, but an integral concert work created based on the joint work of four outstanding Russian musicians. On the title page of Paraphrases, the addressee is indicated: “It is dedicated to small pianists who can play a theme with one finger of each hand”. Borodin played these plays with humor“ with people who cannot play the piano”. Meanwhile, it may seem that the cycle is written in the spirit of musical fun and consists of some playful jokes. However, this is a formal side of the question. Obviously, the free form of “Paraphrases” and, in particular, variations, opened the possibility of practical application created by the Couchkists, the means of a musical language, to hear the topic in the new genre and stylistic conditions. Was the collaboration a simple hobby, a “genius joke” and if not then what are the reasons for writing such an unusual in every sense of the work? These and other issues are to be clarified in this article.
Keywords: children music, variations, genres, cycle, instrumentation, composer’s technique.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Lesovichenko Andrey Mikhaylovich, Dr of Culturology, PhD in Art History, Associate Professor, Professor of Department of Folk Art Culture and Music Education, Novosibirsk State Pedagogical University (Novosibirsk, Russian Federation). E-mail: lesovichenko@mail.ru Shefova Elena Aleksandrovna, PhD in Art History, Associate Professor of Department of Musical Training and Socio-cultural Projects, Institute of Culture and Art, Lipetsk State Pedagogical P. Semenov- Tyan-Shansky University (Lipetsk, Russian Federation). E-mail: shefova_e@mail.ru
Annotation: The interesting parts of the composers’ heritage of Borodin, Cui, Lyadov and Rimsky-Korsakov are the parts of collective works created by them. The article gives a description of “Paraphrases,” the only collection of light piano pieces in the history of music, consisting of twenty-four variations and fifteen different genre numbers for the unchanging children’s theme “Ta-ti, ta-ti.” “Paraphrases” are not a formal combination of variations, but an integral concert work created based on the joint work of four outstanding Russian musicians. On the title page of Paraphrases, the addressee is indicated: “It is dedicated to small pianists who can play a theme with one finger of each hand”. Borodin played these plays with humor“ with people who cannot play the piano”. Meanwhile, it may seem that the cycle is written in the spirit of musical fun and consists of some playful jokes. However, this is a formal side of the question. Obviously, the free form of “Paraphrases” and, in particular, variations, opened the possibility of practical application created by the Couchkists, the means of a musical language, to hear the topic in the new genre and stylistic conditions. Was the collaboration a simple hobby, a “genius joke” and if not then what are the reasons for writing such an unusual in every sense of the work? These and other issues are to be clarified in this article.
Keywords: children music, variations, genres, cycle, instrumentation, composer’s technique.
