2019, № 1 К юбилею Русского музыкального общества (РМО, ИРМО)

ISSN 2658-4824 UDC 78.074 DOI: 10.33779/2658-4824.2019.1.073-082

NINEL F. GARIPOVA Н. Ф. ГАРИПОВА Ufa State Institute of Arts Уфимский государственный институт named after Zagir Ismagilov искусств имени Загира Исмагилова Ufa, г. Уфа, Россия ORCID: 0000-0001-5425-6229 ORCID: 0000-0001-5425-6229 [email protected] [email protected]

Amateur Piano Music-Making Любительское фортепианное and the Ufa Section музицирование и Уфимское of the Imperial Russian отделение Императорского Musical Society* Русского музыкального общества

The geographic position of Ufa, which Географическое положение Уфы, одного in the early 19th century was a deep province, из крупных городов России, являющейся was not conducive to the development в начале XIX века глубокой провинцией, of musical culture. However, we must consider долгое время не способствовало развитию as an important element in its formation музыкальной культуры. Однако важным the active spread of household music-making явлением для её становления следует and the wish of amateurs to participate in the считать активное распространение city’s concert life. The “Society for Singing, домашнего музицирования и желание Music and the Art of Drama” was founded любителей участвовать в концертной in 1885 in Ufa following the wishes of the city жизни города. В 1885 году в Уфе по просьбе residents. горожан было открыто «Общество пения, The twenty-year-long existence of the музыки и драматического искусства». Society has left a considerable trace in the Двадцатилетнее существование development of musical education and the Общества оставило значительный след в exposure of the public to the academic genres развитии музыкального просветительства of the art of piano performance; it played и в приобщении публики к академическим a signifi cant role in the development жанрам фортепианного искусства: of musical literacy and the musical hearing были апробированы новые концертные of the residents of Ufa. формы, способствовавшие развитию In virtue of a number of existing social музыкального вкуса горожан. В силу reasons the Society was closed down, but ряда сложившихся социальных причин following the request of the most educated Общество вскоре было закрыто, но по part of the local nobility and intelligentsia the просьбе передовой части населения Ufa Section of the Imperial Russian Musical было открыто Уфимское отделение Society (IRMS). Having existed for only a few Императорского Русского музыкального years, until the revolution of 1917, it was able общества (ИРМО). Просуществовав to lead the art of music to a new, higher level. всего несколько лет, до революции Professionals with a higher musical education 1917 года, оно смогло вывести культуру were conducive to the further expansion Уфы на новый, более высокий уровень.

* Translated by Anton Rovner.

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of promotion of music with their concert Приехавшие в республику профессионалы performances and teaching lessons in the с высшим музыкальным образованием musical classes and enhanced the development своими концертными выступлениями и of the art of professional music in Bashkiria. педагогической работой способствовали дальнейшему расширению любительского музицирования и содействовали развитию профессионального музыкального искусства Башкирии.

Keywords: Ключевые слова: Ufa, music lovers, salon music-making, Уфа, любители музыки, салонное Society for “Singing, Music and the Art музицирование, Общество «Пения, of Drama,” Imperial Russia Musical Society музыки и драматического искусства», (IRMS). Императорское Русское музыкальное общество (ИРМО).

For citation / Для цитирования: Garipova N.F. Amateur Piano Music-making and the Ufa Section of the Imperial Russian Musical Society // ICONI, 2019. No. 1, pp. 73 – 82. DOI: 10.33779/2658-4824.2019.1.073-082.

he path towards professionalism cultures: the unique national monody culture traversed by the Bashkir musical art of the Bashkirs, presented exclusively by Tof piano performance turned out to the art of the oral village tradition, and the be lengthy and unique in its essence. The traditions of household music-making in formation of the musical traditions of Ufa the Russian urban milieu. In virtue of these took place in the context of complex social- circumstances the formation of the culture historical, religious and political conditions. and the art of music took place slowly, while Ufa, which appeared on the map of Russia the period of accumulation of the premises in the second half of the 16th century amidst for their development will extend for almost the virgin steppes and forests of the Ural three centuries. Mountains, with a dearth of connections Also noteworthy is that the formation with the civilized world in many ways of the art of music in Ufa in the 18th and determined this specifi c character. 19th centuries was connected with amateur Local history expert Alexander Gulyayev music-making, primarily by pianists. In the wrote in 1914: “This was a comparatively 19th century this style of pastime for the small town, similarly to a military outpost, nobility in the capital cities began to spread raised far from the boundary of the area along the various regions and cities of the settled by and standing at a rather country. It started being cultivated much isolated position from it. Onward from Ufa earlier in the Western regions, for example, to Southern Siberia, as well as in the Kyrgyz in the Ukraine — in Kharkov and Odessa. steppes and, generally, in the direction In Ufa the process of generation of towards Central Asia at a distance of many amateur piano music-making began thousand versts there was not a single signifi cantly later: the mid-19th century is Russian person residing” [4, p. 87]. characterized merely by the appearance A specific and decisive factor in the of its rudiments. Similar tendencies can be formation of this process could be seen, noticed in the cities of Siberia and the Far fi rst of all, in the parallel existence of two East — for example, in Tomsk, Irkutsk and

74 2019, № 1 К юбилею Русского музыкального общества (РМО, ИРМО)

Photo 1. Inscription under the Photograph: “The Death of Sussanin. The role of Sussanin is performed by Timokhov”2

Tobolsk, where the formation of the piano fi rst concert organization which included performance school began to emerge only membership of regular performers. At in the 1820s and 1830s. their fi rst stages, as a rule, such artistic As in a number of other regions, the communities had mixed type of membership. formation of the art of music in Ufa passed They were headed by people who possessed through the stage of the creation of a regional certain definite skills and abilities and musical society. The end of the 19th century even the corresponding education. They, witnessed the gradual formation of a milieu in particular, formed around themselves ready to join forces for the sake of combined a circle of amateur musicians, striving for organized music-making. In 1885 upon the a high-quality performance of musical initiative of the head of the Ufa Gubernia compositions acceptable for the perception Dmitri Volkov a circle of the most musically of outsiders. In this connection the creative advanced city dwellers gathered together collaboration of the Ufa-based musicians with the aim of establishing a permanent at that time may be regarded as activity society of lovers of music and drama.1 with elements of mandatory performance On the example of the organization of this conditions. It must be noticed that work on society it becomes possible to observe how rehearsals was carried out from the musical at the end of the 19th century a new form of scores. performers’ community begins to emerge, The amateur level of the overwhelming which would replace the salon-chamber number of performers led to the fl ourishing type of music-making — essentially, the of ensemble music-making. Analysis of the

75 Towards the Anniversary of the Russian Musical Society (RMS, IRMS) 2019, № 1

Photo 2. Inscription under the Photograph: “Soloists: I. Sussanin — Bulykin II. Sobinin — Abramov III. Sussanin — Tilyukov IV. Sobinin — Yeverestov V. Vanya — Baboshina VI. Antonida — Stepanova 7. Vanya — Glatsinova” programs of the musical evenings has made Towards the early 20th century the it possible to ascertain that the piano held “Society of Lovers of Singing, Music and the the steadfast position of an indispensable Art of Drama” undergoes a period of decline. participant.3 Among the immutable numbers The directorate makes the attempt to save in the programs, among the solo pieces, were the organization from disintegration, making the four- and eight-hand piano compositions. the decision to accustom the musicians who An extremely significant form of could perform technically diffi cult repertoire presenting academic classical music — to work. The leader in piano performance namely, the public concert — begins to be during the course of several years was formed. The concert evenings in Ufa became Varvara Dmitrievna Parshina, a pianist entrenched into the everyday life of the city and vocalist who possessed a professional as an indispensable part of the culture. Their musical education, a graduate of the St. organization was regulated by a system Petersburg Conservatory, where she studied of perception about the arrangement of piano and voice. In the article “Obshchestvo life of the city’s population and aroused lyubiteley iskusstva” [“Society of Art Lovers”] positive responses. Among the mandatory the Ufa-based local history expert Georgiy components, whereupon, were balls with Gudkov writes that Varvara Parshina studied dances, comprising the basic element of the with , who “made the most social-aesthetic activity as “an important active contribution to the success of the structural element of the everyday life of talented pianist from Ufa” [3]. In Ufa Parshina the nobility.” gave private piano and voice lessons and

76 2019, № 1 К юбилею Русского музыкального общества (РМО, ИРМО) presented numerous concerts. In his article Thereby, for the fi rst time in Ufa a social “Pervaya uchenitsa Feodora Ivanovicha organization was founded which placed as Shalyapina” [“The First Lady-Pupil of Feodor its goal the organization of regular concerts Ianovich Shalyapin”] Nikolai Barsov placed for the residents of the city and the creation his reminiscences of Ivan Sadovnikov about of conditions for public performances Parshina’s performing style: “I was fortunate of amateur musicians. In addition, the to have heard several times her performance Society was conducive to the formation of on the piano. She played lightly, freely, artistic taste and interest in academic music conveying the conceptions of the composers on the part of the audiences. The main of various works with ravishment,” the old- achievement of the twenty-year old existence timer noted [1]. of the organization was the formation of In 1892 Marionilla Ivanovna premises for development of personal piano Andrzheyevskaya, who arrived in Ufa performance in Ufa. after completing studies at the In the fi rst pre-revolutionary and fi rst Conservatory, where she was a piano post-revolutionary years the condition of student of Alexander Siloti, reinforced the the urban musical culture of Ufa can be group of active members of the Society. characterized as tense and contradictory. The appearance of the pianist, who carried The complex social and political situation the best traditions of the Russian school of in Russia infl uenced the development of performance, on the scene was undoubtedly culture and art. Thus, in Bashkiria towards conducive to inactivating the continuity of the close of 1905 the peasant movement the professional connections of the city’s overtook all the counties of the Ufa and musicians. Orenburg gubernias. The artistic life of An interesting detail draws attention Ufa was left almost entirely unilluminated towards itself in the reports of the Society. in the periodical press, whereas the art The programs frequently listed names of of music returned once again to drawing amateur musicians among the participants rooms and salons. The overall city culture of the musical evenings. Apparently, the of that time had not yet achieved the level of Society’s permanent members considered development at which it could be possible to themselves professionals. This peculiarity speak even of the rudiments of professional of this artistic community elucidates the art. From 1906 to 1913 in connection with meaning and the interpretation of the the decline in the activities of the Society’s essence of the concepts of “professional” and Musical Sector, as well as the result of the “amateur”, which are frequently reduced departure from the city of numerous active to external signs. The active members of musicians the need of the Ufa residents in the Society and other government offi cials the satisfaction of their aesthetical requests participating in the city’s musical life did was met by the Sector for Dramatic Art. not pertain to the category of professional The period of decline of the musical musicians by contemporary standards. In the life of Ufa lasted until 1913. The surviving understanding of the city residents of those separated musical forces and the rather years, the active members of that time were: developed milieu of audiences in Ufa craved 1) professionals (who had a professional for new musical impressions. By 1913 the musical education), musical community raised the question 2) half-professionals (persons who of opening the Ufa Section of the IRMS. A received musical training in the form of petition was sent from Ufa, which stated: household private musical lessons), “In the interests of art itself we consider it a 3) amateurs (most likely, self-taught timely and indispensable act to open in the learners engaged in musical activities city of Ufa a section of the Imperial Russian independently). Musical Society.”4

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Photo 3. Inscription under the Photograph: “All the Participants and Directors”

The petition sent to the Main Directorate decreed: to permit the establishment of of the IRMS in St. Petersburg was supported musical classes and to ask Her Highness the by a cover letter from the gubernator of Ufa Chairwoman of the Society to permit Victor from March 4, 1913, No. 1939 concerning Osipovich Baranovsky perform the duties of the lack of objections from his side and a the director” (TsGIA St. Petersburg, Journal request “to satisfy the designated petition.” of the Main Directorate of the IRMS from Moreover, the journal of the Directorate of November 17, 1913). the IRMS from 1913 contains the “permission It its turn an application arrived to the to establish musical classes affi liated with Main Directorate of the IRMS with the the Ufa Section of the IRMS and to rename request to confi rm the chosen directorate of the existent Music School of Victor Osipovich the Ufa Section, comprised of chairwoman Baranovsky into them.” In the certifi cate Maria Sveshnikova; assistant chairman about the inauguration of the Ufa Section by Sergei Shishkin, director Maria Kharitonova the Provision of the Main Directorate from and honorary member, gubernator of the June 12, 1913 it has been noted that “Victor city Piotr Bashilov.5 Osipovich Baranovsky graduated from the The Ufa Section of the IRMS was Warsaw Musical Institute with attestation as ceremoniously inaugurated on August 29, a student of a piano class and perfected his 1913 in Ufa in the presence of Piotr Bashilov. skills with professors Theodore Leschetitzky In the beginning of the century new and Julius Johannsen. Prior to his affi liation names of musicians are heard in the city: with Ufa, he had his own musical school pianist S. Mikhnevich, violinist Vyacheslav in Novocherkassk for over 10 years. It was Sternad and cellist S. Izdebskaya, which were

78 2019, № 1 К юбилею Русского музыкального общества (РМО, ИРМО) conducive to a signifi cant increase of the The archival documents indicate that professional “degree of heat” in the musical Victor Baranovsky, who was the director of life of Ufa. Their performance activities the Musical Classes, sometimes performed called new musical genres into existence. in concerts. For example, in the Chamber The audiences in Ufa become familiar with Concert on March 25, 1914 he performed chamber music, which assumes the leading Two Mazurkas opus 37 and opus 33, No. 4 positions in the musical evenings: Piotr by Chopin. The same concert featured a Tchaikovsky’s Trio opus 50 in A minor, Franz performance of String Quartet No. 4 by Liszt’s Paraphrase on the Themes from with his participation. Giuseppe Verdi’s “Rigoletto”, Anton The concert practice, as may be seen from Rubinstein’s Trio орus 15 No. 2 in G Minor, the report from the Ufa Section, unifi ed the Max Bruch’s Concerto for Violin and Piano artistic activities of professionals, “half- in G Minor, and Reinhold Gliere’s Quartet professionals” (Alexander Maklygin) and in A Major; Edvard Grieg’s Cello Sonata and amateurs, which progressed from the Quartet орus 27 in G Minor6; Alexander general milieu of dilettantes by the brightest Borodin’s Quartet in D Major and Mikhail abilities and talents. There had not existed Ippolitov-Ivanov’s Quartet орus 9 in A-fl at yet a concise division into professionals and Major. A noticeable event in the city was a amateur performers, and the concerts were large concert consisting of three sections, frequently mixed in their makeup. organized on March 27, 1915, dedicated to The activities of the Musical Classes could the memory of Anton Rubinstein, consisting not possible carry on without at least a few of the composer’s original works. It presented scandalous stories. Victor Baranovsky was to the audiences the composer’s chamber relieved of his duties of a director for having works: Trio in G Minor, opus 15, the second permitted a loss of financial assets. He movement of the Sonata for Piano and Cello, was replaced in his position by Marionilla and “Melody” for cello, in which the piano Andrzheyevskaya (1869 – 1957), whose part was performed by pianist Marionilla talent fl ourished with the establishment Andrzheyevska. In addition, she performed of the Ufa Section of the IRMS. Her gift in a heartfelt manner — Romance and as a pianist and her contribution to the “Toreodor and the Spanish Lady.”7 development of the art of Bashkir music, by The 1914 – 1915 concert season brought standards of the republic’s signifi cance, is a noticeable revival. Seven concerts were quite high. Andrzheyevskaya’s formation as organized, fi ve of which were evenings of a concertizing pianist took place in Ufa, and chamber music, the programs of which were in the process of her activity her individual very diverse and consisted of the works of creative line of character was revealed: her Johann Sebastian Bach, , inclination towards chamber music. Joseph Haydn, Edvard Grieg, Jan Sibelius, A native of Ufa, Maria Poleshchuk- Alexander Borodin, Reinhold Gliere, Grigoriy Uvodskaya worked in the Musical Classes, Davidovsky, Mikhail Ippolitov-Ivanov, after having returned to Ufa after completing Mikhail Lisitsyn, Piotr Tchaikovsky, and Erkki studies at the St. Petersburg Conservatory. The Malartin. The performers were instructors of pianist’s successful performances brought in the Musical Classes of the Ufa Section of the a gust of fresh air into the concert programs. IRMS: pianists Marionella Andrzheyevskaya, In the responses of the critics she was S. Mikhnevich, Maria Poleshchuk-Uvodskaya, characterized as a professional and mature cellist S.Ya. Izdebskaya, violinist Vyacheslav musician (there is information available that Sternad, violist I.P. Ishpaykin. The concert on April 4, 1915 a musical evening took place featured the participation of the loval music on which Poleshchuk-Uvodskaya performed lovers L.I. Ass, S.M. Yuryev, N. M. Rumyantseva the austere and technically difficult and D.A. Tsyganov.8 “32 Variations” by Beethoven).

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The Musical Classes demonstrated Classicists (Ludwig van Beethoven) and by positive changes. The piano class remained the Romanticists (Robert Schumann, Frederic the most prestigious in the school, its role is Chopin, Edvard Grieg). Most impressive was perceivable by the group of instructors, which the interest on the part of the performers by that time increased signifi cantly. Besides towards the music of Russian composers: Andrzheyevskaya, it included: E.V. Perfi lova- , Piotr Tchaikovsky, Boris, L. Feinstein, V.A. Vordlevskaya, Mikhail Ippolitov-Ivanov and others. O.M. Rubinskaya, and N.S. Izmailova. From The concert repertoire consisting of an advertisement from the newspaper works primarily of salon direction, popular “Ufi mskaya zhizn” [“Ufa Life”] we learn of in the milieu of lovers of ensemble music the establishment of classes of violin, cello gives place to serious and complex genres and other instruments. that trios and quartets present themselves The pedagogues of the Musical Classes tried to be. Large-scale, signifi cant compositions to involve their apprentices to concert practice, come to the forefront, demanding from the which is testifi ed by archival documents. In performer not only a successful rendition 1915 the students prepared four concerts. of the musical score, but an understanding The programs included: sonatinas by Fritz of the profound essence of the musical Spindler, Wolfgang Amadeus Mozart, and composition, which frequently does not Joseph Haydn, ’s Variations, lie at the surface. Thereby, the concert Wolfgang Amadeus Mozart’s Fantasia; activities of the musicians of the city passes contrapuntal compositions by Johann onto a new, professional stage. This may be Sebastian Bach; etudes by Felix Lecouppey, judged by the qualitatively new repertoire Karl Leschhorn, Stephen Heller, Jean Ravine; in the programs: Ludwig van Beethoven’s pieces by Cornelius Gurlitt, Robert Schumann, “32 Variations”, Franz Liszt’s “Paraphrase” Charles Dancla, Felix Mendelssohn, Frederic for piano on the themes of Giuseppe Verdi’s Chopin and Ludwig van Beethoven.9 opera “Rigoletto”, and Piotr Tchaikovsky’s Obviously, the level of the programs Trio opus 50, which testify to the fact corresponded to the normative requirements that in Ufa there appeared musicians the for students of the Musical Classes. However, level of mastery of piano performance of in them ensemble music, as a rule, was which made it possible to turn to musical also present in its most diverse genres. The compositions that were complex in their listeners were presented with performances technique and signifi cant in their content, of Charles Dancla’s Symphony No. 3 for 2 demonstrating at the same a high and violins and piano, Joseph Haydn’s Trio in perfect level of performing art. F# Minor and String Quartet, Karl Maria von Thereby, the changed historical realities Weber’s “Konzertstück”, and Franz Schubert’s brought out new realities before the musical “Marche Militaire” for 2 pianos. There were culture of the city. The art of piano playing in frequently performances in instrumental Ufa also sensed the wind of change against concerts with violinists and pianists, or with the background of a rising movement of cellists and pianists. The piano parts, as a national consciousness. What corresponded rule, were reserved for the students. closest of all to the spirit of the times was the The new paths of development of the art of style of Romanticism with its soul stirring piano performance in Ufa were denoted more aspiration towards liberty and heroic and more precisely. The quality of repertoire pathos. This direction was apprehended programs of public concert evenings testifi es by pianists who remained in Ufa and by about a signifi cant increase of the professional new teachers who comprised the faculty of level. They included compositions that the renewed afresh Musical Classes of the were complicated in the technical regard Imperial Russian Musical Society, which and profound in their contents both by the existed until 1917.

80 2019, № 1 К юбилею Русского музыкального общества (РМО, ИРМО)

NOTES

1 The principle of the formation of a “circle”, Gioacchino Rossini, and Giuseppe Verdi. as it was called at that time, was based on a The best renown was enjoyed by the music distinction between the social classes. of Russian composers: the vocal compositions It consisted of nobility, state councilors, of , Alexander Dargomyzhsky, the clergy and landowners. The Society of Anton Rubinstein, and the “Russian German” Lovers of Singing, Music and the Art of Drama Alexander Dubuck. A perceivable amount owes its formation to the greatest degree of attention in the concert programs was given to true lovers of art — the Sevastyanov family: to composers who were popular at that time: Dmitri Sevastyanov (professional violinist), Alessandro Stradello, Richard Eilenberg, Cesar his daughter (professional pianist) Varvara Puni, Joseph Foersten and others Parshina, her brother Mikhail Sevastyanov [for more details see: Reports of the Ufa Society (a doctor by his education). for Singing, Music and the Art of Drama 2 The photographs in the article are taken (1885 – 1902). Scholarly Library from a photo album published in Ufa in 1913. of the UNTs UO RAN. — r V — 16979]. On the cover it is inscribed: “In memory of 4 Petition for the Establishment of the Ufa the production of Mikhail Ivanovich Glinka’s Section of the IRMS. TsGIA. St. Petersburg. opera ‘A Life for the Tsar’ in Ufa by the Pupils F. 744, D. 32. RL. 15. of Intermediary Educational Institutions on the 5 Report of the Ufa Section of the IRMS Day of the 300th Anniversary of the Reign of for 1914 – 1915. TsGIA. St. Petersburg. — F. 408. the Romanov Dynasty. Ufa. Photographer: Inv. 1, D. No. 63a. O. German.” 6 Reports of the Ufa Society for Singing, Music 3 For example, in the Report of the Music and Dramatic Art (1885 – 1902). Scholarly Sector it can be noticed that a considerable Library of the UNTs UO RAN. — r V — 16979. number of compositions for piano were 7 Report of the Ufa Section of the IRMS performed in ensembles: four-hand piano — for 1914 – 1915. TsGIA. St. Petersburg. — F. 408. Carl Maria von Weber’s to the opera Inv. 1, D. No. 63a. “Abu-Hassan”, Franz von Suppe’s Overture 8 Ibid. to his opera “Poet snd Peasant”, and Richard 9 The Petrograd Conservatory. Resumes Eilenberg’s “March of the Gnomes”. There of the Students during the Years 1862 – 1918. were frequent performances of compositions TsGIA. St. Petersburg. F361, Inv. 318. D. 304. by Wolfgang Amadeus Mozart, Joseph Haydn, p. 126.

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About the author: Ninel F. Garipova, Dr.Sci. (Arts), Professor at the Secondary Piano Department, Ufa State Institute of Arts named after Zagir Ismagilov (450008, Ufa, Russia), ORCID: 0000-0001-5425-6229, [email protected]

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1. Барсов Н. Первая учительница Ф.И. Шаляпина // Советская Башкирия. 1965. 12 марта. 2. Гарипова Н.Ф. Фортепианное исполнительство и образование в Уфе. Страницы истории. Уфа: АН РБ, Гилем, 2010. 248 с. 3. Гудков Г.Ф. Общество любителей искусства // Вечерняя Уфа. 1995. 1 ноября. 4. Гуляев А.А. Иллюстрированная Уфа (Уфа в прошлом и настоящем). Уфа: Электрич. тип.-лит. товарищества Ф.Г. Соловьева и К°, 1914. 204 с. 5. Карпова Е.К. Страницы дореволюционной музыкальной истории // Очерки по истории башкирской музыки. В 2 вып. Вып 1 / отв. ред-сост. Е. К. Карпова. Уфа: РИЦ УГИИ, 2001. С. 4 – 26. 6. Шабалина Л.К. Отделения Императорского Русского музыкального общества на Урале // Проблемы музыкальной науки. Уфа, 2010, № 2. С. 84 – 89. 7. Getreau F. Archives of the Old Music Society, 1926 – 1975, preserved in the Museum of Music in Paris // FONTES ARTIS MUSICAE. 2007. Volume 54, Issue 1, pр. 38 – 54. 8. Kabisch T. Music in Saloon-Convention and Nuances // Musik Theorie. 2008. Volume 23, Issue 2, pp. 110 – 140.

Об авторе: Гарипова Нинэль Фёдоровна, доктор искусствоведения, профессор кафедры общего курса фортепиано, Уфимский государственный институт искусств им. Загира Исмагилова (450008, г. Уфа, Россия), ORCID: 0000-0001-5425-6229, [email protected]

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