The first exhibition organised by Nikolai Kul'bin opened in St. Petersburg in April 1908. It marked the beginning of a new era in the history of the art of the Russian capital, and introduced many young artists to the exhibiting environment and the public. While still firmly within the symbolist tradition it was these artists who strove to renew and broaden the visual language of painting. The aim of this thesis has been to trace the developments in this process that started from fin-de-siecle symbolism and reached, via Neo-Primitivism, a climax in Cubo-Futurism. This is achieved by a survey of the composition and events surrounding Kul'bin's group "Triangle" and the art society that grew out of it, "The Union of Youth", from 1908 to 1914. As a group Triangle existed for three art seasons between 1908 and 1910. Chapters One and Two examine the growth and changes in the group in this time. The adoption of an aesthetic of "free creativity" and synaesthetic principles, the psychological impressionism of Kul'bin and Matyushin, and the association of ideas with literary symbolism are examined. The notion of art as an abstraction from nature is studied with reference to Markov's theories and the art of the Union of Youth exhibitors in Chapter Three and succeeding chapters. In addition, the originality of the establishment of the Union of Youth in the Russian context, and the overlap of ideas and artists with Triangle is discussed. The provision of this new forum for unestablished artists stimulated many developments in the visual arts, not least the progress of Neo-Primitivism, which, as seen In Chapter Four was even transferred to the theatre. The Union of Youth's production of "Khoromnyya Deistva" is seen to presage Markov's notion of "constructive" and "non-constructive" art, examined in Chapter Five, as well as the zaum transrationalism of Malevich, Matyushin and Kruchenykh in the Futurist opera The Victory over the Sun. The Union of Youth's role in creating the ambience appropriate for such ideas is analysed and in the second half of the thesis it is seen that while the group backed these modernist tendencies, most of the member-artists actually failed to be truly innovative in their own art. The dependence on developments in Munich and Paris, and the inter-relationship of these artistic centres with Petersburg are studied in the light of the retention of a mystical symbolist aspect in the art of the Petersburg avant-garde.

Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

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The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school. During his student years (1956 -1961) Kapustin gained popularity as an actively performing jazz pianist. After graduating from the Moscow conservatory, Kapustin joined the famous Oleg Lundstrem Jazz orchestra, which by that time was considered a leading jazz ensemble of Soviet Russia. In the beginning of the 1980's Kapustin focused entirely on composition, when his original style had flourished. The jazz language of Kapustin is a kaleidoscope of styles of the greatest twentieth century jazz composers. Almost every article describing his jazz style mentions the influences of great jazz musicians: Art Tatum, Oscar Peterson, Erroll Garner, and George Gershwin. In my study I am going to take a closer look at how strong those influences are, as well as how Kapustin internalized many different jazz styles and created his own style. Kapustin's style bears qualities that belong to the Soviet jazz of 1950s and 1960s. In the second chapter detailed information will be presented about jazz tradition in Russia. This monograph concentrates on Variations, Op.41 and two Concert Etudes (# 3 and # 4) from Eight Concert Etudes, Op 40, composed in 1984. The Variations, Op.41 demonstrate the richness of Kapustin's style and his dazzling talent. These variations are based on a short Russian-Lithuanian folk theme or motive. The same motive is found in the opening of Stravinsky's "Rite of Spring." Kapustin has transformed an original meditative theme into swing.The analysis of Variation, Op.41 will be followed by the analysis of two etudes (No. 3 & 4) from Eight Concert Etudes, Op.40. The Eight Concert Etudes Op.40 are not only pieces of remarkable technical difficulty, but also pieces of unique beauty and invention with romantic flair. The influence of Russian composers can be seen, including that of Rachmaninoff, Scriabin and Prokofiev. My research on these works will provide a thorough representation of Kapustin as a composer and a pianist; the overview of Nikolai Kapustin's piano works; his contribution to the piano repertoire, and composer's unique place in music history. The monograph will also include comparison of two recordings by Nikolai Kapustin and Marc-Andre Hamelin along with pedagogical recommendations. / Music Performance

Unter den Genres des russischen Musiktheaters hat die komische Oper die längste Tradition. Entstanden in den siebziger Jahren des 18. Jahrhunderts, blieb sie bis ins erste Drittel des 19. Jahrhunderts hinein die einzige professionelle musiktheatralische Gattung. Nationale Genrekennzeichen sind das Lyrische, das Phantastische und das Satirische sowie die Vermischung dieser Züge, wie man sie beispielsweise in der Mainacht von Rimski-Korsakow, in Wakula der Schmied von Tschaikowsky und in der Hochzeit von Mussorgski findet, um nur einige herausragende Beispiele des 19. Jahrhunderts zu nennen. Diese genrespezifischen Eigenschaften wurden im 20. Jahrhundert größtenteils beibehalten. Neben den bekannten Werken Igor Strawinskys, Sergei Prokofjews und Dmitri Schostakowitschs stellen die Opern Nikolai Tscherepnins in der ersten Jahrhunderthälfte einen interessanten Sonderweg dar.

Dieses Buch verdankt sein Entstehen zwei Gründen. Zunächst ist es die Absicht, die an versteckter Stelle befindlichen Urkunden und Aktenabschriften des historischen Pfarrarchivs St. Nikolai der Fachwelt zugänglich zu machen. Außerdem möge diese Urkundensammlung dazu beitragen, die überregionale Bedeutung der Stadt Geithain weiter aufzuhellen und ihren Platz in der Landesgeschichte zu festigen. Insofern richtet sich das Buch sowohl an den interessierten Historiker als auch an den gebildeten Laien. Es enthält eine Fülle von Ereignissen zur Stadt- und Landesgeschichte der Mark Meißen bzw. des Herzogtums Sachsen vom 12. bis zur Mitte des 16. Jahrhunderts, die in der Mehrzahl bisher noch nicht im Druck vorliegen.

Dieses Buch verdankt sein Entstehen zwei Gründen. Zunächst ist es die Absicht, die an versteckter Stelle befindlichen Urkunden und Aktenabschriften des historischen Pfarrarchivs St. Nikolai der Fachwelt zugänglich zu machen. Außerdem möge diese Urkundensammlung dazu beitragen, die überregionale Bedeutung der Stadt Geithain weiter aufzuhellen und ihren Platz in der Landesgeschichte zu festigen. Insofern richtet sich das Buch sowohl an den interessierten Historiker als auch an den gebildeten Laien. Es enthält eine Fülle von Ereignissen zur Stadt- und Landesgeschichte der Mark Meißen bzw. des Herzogtums Sachsen vom 12. bis zur Mitte des 16. Jahrhunderts, die in der Mehrzahl bisher noch nicht im Druck vorliegen.

Die Einleitung der Veröffentlichung behandelt das Schaffen von Nikolai Rerich, einem der markantesten und urwüchsigsten Maler der russischen Schule.

Afhandling for den filosofiske doktorgrad--humanistiske Fakultetsråd--Aarhus Universitet, 1991.

abstract: Born in 1937, the Ukrainian-Russian composer Nikolai Kapustin has gradually gained recognition among Western music scholars and pianists by blending American jazz idioms into classical forms, such as concertos, sonatas, and preludes; recently he has become a very prominent composer. As one of the most prolific composers of the twentieth and twenty-first centuries, he has composed over 160 works to date. Most of them are piano solo works. The uniqueness of his compositional philosophy is that he consistently treats the music language of jazz as a core element in all his output, while others might only use jazz idioms experimentally in their works. Being an excellent pianist himself, Kapustin has recorded many of his own works, giving a firsthand reference for interpreting his piano music. Some of his most famous works, including the Variations, Op. 41, the Eight Concert Etudes, Op. 40, and the 24 Preludes in Jazz Style, Op. 53 have been recorded by other prominent artists, such as Steven Osborne and Marc-Andre Hamelin. Scholarly research on Kapustin’s piano works remains limited. Most of it is found in journal articles and dissertations. Unfortunately, all of them are focused on his early popular works. His more recent works from 2007-2013: the Six Little Pieces, Op. 133, Dialogue, Op. 148, Etude Courte mais Transcendante pour piano, Op. 149, Nobody Is Perfect, Op. 151, A Pianist In Jeopardy, Op. 152, and Wandering, Op. 153, have not yet been discussed in any scholarly writing. In brief, the purpose of this study is to present a first recording of these six major solo works, and to examine them in a research paper. The paper discusses Kapustin’s consistent use of jazz elements in his recent works, addresses musical and technical concerns in their performance practice, and facilitates more extended study of these valuable but yet to be recorded works. The paper consists of eight parts. The first part covers brief background information on the composer, as well as reviewing important jazz features, in order to more effectively analyze his stylistic language in the six compositions which are explored in the subsequent chapters including a conclusion. / Dissertation/Thesis / SIX LITTLE PIECES, OP. 133, No. 1 Allegro Moderato / SIX LITTLE PIECES, OP. 133, No. 2 Comodo / SIX LITTLE PIECES, OP. 133, No. 3 Allegretto / SIX LITTLE PIECES, OP. 133, No. 4 Larghetto / SIX LITTLE PIECES, OP. 133, No. 5 Allegro Scherzando / SIX LITTLE PIECES, OP. 133, No. 6 Allegro non troppo / DIALOGUE FOR SOLO PIANO, OP. 148 / ETUDE COURTE MAIS TRANSCENDANTE, OP. 149 / NOBODY IS PERFECT, OP. 151 / A PIANIST IN JEOPARDY, OP. 152 / WANDERING, OP. 153 / Doctoral Dissertation Music 2018