History of Music in Russia from Antiquity to 1800, Vol. 2 , livre ebook

History of Music in Russia from Antiquity to 1800
N IKOLAI F INDEIZEN (1868-1928).
History of Music in Russia from Antiquity to 1800
V OLUME 1
From Antiquity to the Beginning of the Eighteenth Century
V OLUME 2
The Eighteenth Century
This work was brought to publication with the generous support of Joseph Bloch .
RUSSIAN MUSIC STUDIES
Malcolm Hamrick Brown, founding editor
History of Music in Russia from Antiquity to 1800
V OLUME 2
The Eighteenth Century

Nikolai Findeizen
TRANSLATION BY Samuel William Pring
EDITED AND ANNOTATED BY Milo Velimirovi and Claudia R. Jensen
WITH THE ASSISTANCE OF M ALCOLM H AMRICK B ROWN AND D ANIEL C. W AUGH
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Library of Congress Cataloging-in-Publication Data
Findeizen, N. F. (Nikolai Fedorovich), 1868-1928.
[Ocherki po istorii muzyki v Rossii. English]
History of music in Russia from antiquity to 1800 / Nikolai Findeizen ; translation by Samuel William Pring ; edited and annotated by Milo Velimirovi and Claudia R. Jensen with the assistance of Malcolm Hamrick Brown and Daniel C. Waugh.
v. cm. - (Russian music studies)
Includes bibliographical references and index.
Contents: Vol. 1. From antiquity to the beginning of the eighteenth century. Introduction. The predecessors of the Slavs ; Pagan Rus ; Kievan Rus ; Novgorod the Great ; The activities of the Skomorokhi in Russia ; Music and musical instruments in Russian miniatures, woodcuts, and glossaries ; A survey of old Russian folk instruments ; Music in ancient Moscow (fifteenth and sixteenth centuries) ; Music in the monastery. Chashi (toasts). Bell ringing. Sacred performances (sixteenth and seventeenth centuries) ; Music in court life in the seventeenth century ; A brief survey of singers, composers, and music theorists of the sixteenth and seventeeth centuries ; Music and theater in the age of Peter the Great - Vol. 2. The eighteenth century. Music and theater, 1730-1740 ; Music in court life during the reigns of Elizabeth Petrovna and Catherine II ; Music in Russia s domestic life during the second half of the eighteenth century ; The Russian horn band ; Music in Russian public life during the second half of the eighteenth century ; Musical creativity in Russia during the eighteenth century ; Literature about music, publishers and sellers of sheet music, instrument makers and merchants.
ISBN-13: 978-0-253-34825-8 (v. 1 : cloth : alk. paper)
ISBN-13: 978-0-253-34826-5 (v. 2 : cloth : alk. paper) 1. Music-Russia-History and criticism. I. Pring, Samuel William. II. Velimirovi , Milo . III. Jensen, Claudia Rae. IV. Title.
ML300.F413 2008
780.947-dc22
2006037057
1 2 3 4 5 13 12 11 10 09 08
Book layout and composition: Alcorn Publication Design
These volumes are dedicated, with our thanks, to Joseph Bloch and to Elizabeth (from M.V.) and to Brad, Anna, and Becky (from C.R.J.) for their support and patience throughout .
Contents
Editors Introduction to Volume 2
List of Abbreviations
13. Music and Theater, 1730-1740
14. Music in Court Life during the Reigns of Elizabeth Petrovna and Catherine II
15. Music in Russia s Domestic Life during the Second Half of the Eighteenth Century
16. The Russian Horn Band
17. Music in Russian Public Life during the Second Half of the Eighteenth Century
18. Musical Creativity in Russia during the Eighteenth Century
19. Literature about Music, Publishers and Sellers of Sheet Music, Instrument Makers and Merchants
Music Appendix
Table of Works
Glossary
Notes
Volume 2 Bibliography
Index
Editors Introduction to Volume 2
One of the great pleasures of this project, as we noted in the first volume of this edition, has been the depth of advice and expertise, generously and willingly shared, from which we have been able to draw. Some of the many people to whom we owe our thanks are included in volume 1 of this project, but there are a few whose names must appear in this second volume as well. The patience and much-tried good humor of the others involved in this edition, particularly Joseph Bloch, Malcolm Brown, Daniel Waugh, and Janet Rabinowitch, can only be imagined, and we are most grateful for their support, encouragement, and, most of all, their patience. The quality of this work was immeasurably enriched by several people who worked many long hours answering questions about Russian grammar and vocabulary. Elena Dubinets s heroic work on the translation, for this volume as well as for the first volume, merits our unending thanks; we exploited beyond reason her knowledgeable advice and aid. Dan Newton and Laura Friend both gave many hours to this project, and their exacting sense of language is evident on nearly every page of this text; it was a great pleasure to work with both of them. Galina Averina generously volunteered to help with the long series of eighteenth-century kant texts in this volume, and her thoughtful solutions to these difficult passages made them come alive. Her advice and patience has been invaluable, and we thank her most sincerely. Thanks are also due to Jacqueline Smith, Carolyn Willis, and Nina Perlina, all of whom contributed to our understanding of Findeizen s terminology and prose. We also wish to thank Deborah L. Pierce, at the Music Library of the University of Washington, and to acknowledge again the continuing support given by the Department of Slavic Languages and the School of Music. Elizabeth Sander, James West, John Gibbs, and Mikhail Shmidt also gave their expertise to this project. Finally, to George-Julius Papadopoulos, who ignored the clock and finished the Table of Works not only with great style and accuracy but with immense good humor as well, our profound thanks and appreciation; his laborious care gave this volume a reliable, accurate base from which to proceed.
There are many difficult editorial issues to contend with in this second volume of Findeizen s work, in addition to the procedures outlined for volume 1. In this volume, names of composers and performers have, whenever possible, been rendered in their original language; thus, in as many instances as possible, we have consulted additional sources in order to find reliable spellings and have used those spellings throughout. We have frequently added first names to some of the musicians Findeizen lists, and these additions do not appear in square brackets, nor do complete titles or page numbers which have been supplied, when possible, in the notes. In certain cases we have suggested possible candidates or spellings for some of Findeizen s musicians, and these suggestions, unverified but plausible, do appear in square brackets. Our primary sources include NG2, IRM 2 and 3, and the three volumes of Mooser s Annales [MA]; the article on Robert-Aloys Mooser (1876-1969) in NG2 gives some sense of the scope of his accomplishments. We have consulted the online version of NG2 as of the spring of 2006. Another excellent source is the recent MP , a three-volume encyclopedia with a fourth volume that includes comparative tables listing musical events in major Western European cities along with contemporaneous performances, publications, and appearances in St. Petersburg (and Moscow). This excellent work, which is still in progress, includes many important references to archival material, and has incorporated discussions from Western musicological studies, primarily Mooser and NG (not NG2 , which was published just as some of these volumes appeared).
Findeizen often gives titles of operas in Russian even if the operas were actually performed in another language. We have attempted here to render titles in the language in which they were performed, and have entered corrections to Findeizen s titles as necessary. Translations of Russian-language operas are based whenever possible on the translations given in the excellent series of articles in NG2 , written largely by Richard Taruskin; the transliteration system used in these volumes, however, is slightly different from that in NG2 . (We use a strict Library of Congress transliteration in the notes and in the Table of Works, and a slightly modified transliteration in the body of the text, as explained in the preface to volume 1.) The appended Table of Works provides the most complete listing possible of compositions Findeizen mentions in this volume (although we do not include individual songs). We have generally given translations at the first appearance of a composition and thereafter simply rendered the work by its Russian title. All these editorial decisions represent an attempt to regularize Findeizen s important data, making it accessible to Western scholars who might want to delve into this enormously fruitful and fascinating period in the history of Russian music.
The terminology