From the History of the Formation of the Public Chamber Vocal Concert in Russia: an Essay of Documentary Research
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Abstract
The author researches the process of formation of public chamber
vocal concerts in Russia at the turn of the 19th and 20th centuries as
a specific form of artistic communication. On the basis of historical
documents pertaining to well-known musical public institutions
(such as the House of Song and the Circle of Lovers of Russian
Music) a set of innovations which exerted their influence on the
development of the artistic milieu can be traced out.
The following is examined: predilections in terms of repertoire
and aesthetic landmarks in the art of singing; understanding of
the enlightening mission of the singer as an artist and his or her
historical responsibility towards the composer and the listener;
a crystallization of a stable artistic union of the singer and the
accompanist and the formation of the foundations of the vocalinstruments;
the new role of the audience in the performance
destiny of chamber vocal oeuvres; new concert regulations (the
elimination of “encores,” prohibition of applause, inclusion of
programs “upon the request of the audience”).
Many historical documents are brought into scholarly use for
the first time. The author demonstrates the significant historical role
of the Circle of Lovers of Russian Music in the development of
artistic interaction between performers and composers, as well as
between performers and audiences.
Keywords: concert, chamber vocal concertizing, romance
song, musical circle, M. A. Olenina-D’Alheim, M. S. Kerzina
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