DOCSLIB.ORG

Eclipse of Power the Opera: in the Third Act, Igor, Devastated by His Defeat, Evokes the Sun Again: “I Will Save My People

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eclipse of Power the Opera: in the Third Act, Igor, Devastated by His Defeat, Evokes the Sun Again: “I Will Save My People COMMENT BOOKS & ARTS ARTS dark? What does it mean? It is a sign from heaven,” sings the chorus, begging the sol- diers not to go to war. “The Sun is a crescent, like the Moon.” The solar motif runs through Eclipse of power the opera: in the third act, Igor, devastated by his defeat, evokes the Sun again: “I will save my people ... the Sun will shine again.” Jay M. Pasachoff and Naomi Pasachoff appraise Ultimately, Borodin throws off the pall of Alexander Borodin’s solar-inspired opera. superstition to show that humans — not celestial events — are in charge. At the very end, the prince, with an abruptness that we mong the astronomical phenomena the first time here Prince Igor found unconvincing, begins to salvage wood that spur composers to creativity, — certainly makes The Metropolitan Opera, from the ruins to rebuild his city, once again total solar eclipses figure rarely. A for an effective New York City. leading his people. Agreat exception is the one that inspired the spectacle. Projected Until 8 March. Some six years before this magnificently Live in HD worldwide nineteenth-century opera Prince Igor by video footage in transmission on 1 March, staged and sung psychological drama Alexander Borodin. Borodin, a composer, black and white then available on DVD. reached the Met stage, we were on our way surgeon and research chemist, based the with vivid touches to Siberia to reconnoitre ahead of a total work on a twelfth-century epic poem about of colour (such as red on a bloodied face) solar eclipse. Stopping off in St Petersburg, Russia’s foundation, The Lay of the Host of fleshes out aspects of the story. For instance, we encountered the eclipse-centred story Igor, which features a momentous eclipse. in the first act, conceived as a dream sequence of Prince Igor for the first time. A stunning Now, for the first time in nearly a century, of Igor’s as he lies wounded in the field, the 1942 painting by Russian artist Nicholas Prince Igor is being performed at New York’s battle scenes are shown in this way. These Roerich in the State Russian Museum Metropolitan Opera, with star bass Ildar are lent a certain poignancy by the fact that shows Igor and his soldiers viewing the Abdrazakov in the title role. Borodin had worked as a military surgeon for corona-rimmed lunar silhouette in the sky. The opera had a convoluted genesis. a year. (He was, however, primarily a chemist. Intrigued, we later consulted maps to find After working on it intermittently for Best known for his research on aldehydes, he that there were indeed total solar eclipses vis- 18 years, Borodin died in 1887, leaving it was also one of two independent discover- ible from the Russian steppes in the twelfth unfinished; Russian composers Nikolai ers of the aldol reaction, a means of forming century. Totality from the 1 May 1185 eclipse Rimsky-Korsakov and Alexander Glazunov carbon–carbon bonds in organic chemistry.) ended in what is now Ukraine — the very then provided most of the orchestrations. The opera’s plot hinges on the defeat, territory in which Prince Igor was jolted by The Met’s new production, a joint venture psychological journey and redemption of daytime darkness. ■ with Amsterdam’s De Nederlandse Opera, Prince Igor Svyatoslavich. A historical ruler reconceives the work, making use of decades of Putivl in modern-day Ukraine, he is at Jay M. Pasachoff is Field Memorial of musicological research. Director Dmitri war against the Polovtsy nomads, who have Professor of Astronomy at Williams College, Tcherniakov and conductor Gianandrea laid waste to Russia. The eclipse appears just Williamstown, Massachusetts, and Chair Noseda have jettisoned much of the Rimsky- five minutes into the prologue, a portent of the American Astronomical Society’s Korsakov and Glazunov material, incor- of Igor’s military fail- Historical Astronomy Division. Naomi porated newly found pieces by Borodin ure. The light coming NATURE.COM Pasachoff, a research associate at Williams himself, and rearranged some scenes after through the windows For more on science College, is a biographer of Marie Curie and referring to Borodin’s notes. darkens for a few sec- and opera: other scientists. This fresh version — sung in Russian for onds. “The sky grows go.nature.com/dqsxzs e-mail: [email protected] ALEXEY BUSHKIN/RIA NOVOSTI Nicholas Roerich’s 1942 painting Igor’s Campaign depicts the eclipse at the heart of Prince Igor. 432 | NATURE | VOL 506 | 27 FEBRUARY 2014 © 2014 Macmillan Publishers Limited. All rights reserved.
Load more

Recommended publications
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Alexander Glazunov
    Call & Response 2011 Music With Exotic Influences Glazunov, Schulhoff, Bloch, Debussy & Jeffery Cotton Listener’s Guide Join us for a performance of music inspired by the Exotic Call & Response 2011 Concert May 5, 2011, Herbst Theatre, San Francisco Details inside… Call & Response 2011: Music with exotic influences Concert Thursday, May 5, 2011 Herbst Theatre at the San Francisco War Memorial 401 Van Ness Avenue at McAllister Street San Francisco, CA 7:15pm Pre-Performance Lecture by composer Jeffery Cotton 8:00pm Performance Buy tickets online at: www.cityboxoffice .com or by calling City Box Office: 415-392-4400 Page Contents 3 The Concept: evolution of music over time and across cultures 4 Jeffery Cotton 6 Alexander Glazunov 8 Erwin Schulhoff 10 Ernest Bloch 12 Claude Debussy 2 Call & Response: The Concept Have you ever wondered how composers, modern composers at that, come up with their ideas? How do composers and other artists create new work? Our Call & Response program was born out of the Cypress String Quartet’s commitment to sharing with you and your community this process in music and all kinds of other artwork. We present newly created music based on earlier composed pieces. Why “Call & Response”? We usually associate the term “call & response” with jazz and gospel music, the idea being that the musician plays a musical “call” to which another musician “responds,”—a way of creating a new sound relating in some way to the original. In this program, the “call” is that of Cypress String Quartet searching for connections across musical, historical, and social boundaries.
    [Show full text]
  • Chicago Symphony Orchestra Riccardo Muti Zell Music Director
    PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 2, 2014, at 8:00 Friday, October 3, 2014, at 1:30 Saturday, October 4, 2014, at 8:30 Riccardo Muti Conductor Christopher Martin Trumpet Panufnik Concerto in modo antico (In one movement) CHRISTOPHER MARTIN First Chicago Symphony Orchestra performances Performed in honor of the centennial of Panufnik’s birth Stravinsky Suite from The Firebird Introduction and Dance of the Firebird Dance of the Princesses Infernal Dance of King Kashchei Berceuse— Finale INTERMISSION Tchaikovsky Symphony No. 3 in D Major, Op. 29 (Polish) Introduction and Allegro—Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderato e semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca) The performance of Panufnik’s Concerto in modo antico is generously supported by the Adam Mickiewicz Institute as part of the Polska Music program. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Andrzej Panufnik Born September 24, 1914, Warsaw, Poland. Died October 27, 1991, London, England. Concerto in modo antico This music grew out of opus 1.” After graduation from the conserva- Andrzej Panufnik’s tory in 1936, Panufnik continued his studies in response to the rebirth of Vienna—he was eager to hear the works of the Warsaw, his birthplace, Second Viennese School there, but found to his which had been devas- dismay that not one work by Schoenberg, Berg, tated during the uprising or Webern was played during his first year in at the end of the Second the city—and then in Paris and London.
    [Show full text]
  • Whose Chopin? Politics and Patriotism in a Song to Remember (1945)
    Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest).
    [Show full text]
  • Teacher Notes on Russian Music and Composers Prokofiev Gave up His Popularity and Wrote Music to Please Stalin. He Wrote Music
    Teacher Notes on Russian Music and Composers x Prokofiev gave up his popularity and wrote music to please Stalin. He wrote music to please the government. x Stravinsky is known as the great inventor of Russian music. x The 19th century was a time of great musical achievement in Russia. This was the time period in which “The Five” became known. They were: Rimsky-Korsakov (most influential, 1844-1908) Borodin Mussorgsky Cui Balakirev x Tchaikovsky (1840-’93) was not know as one of “The Five”. x Near the end of the Stalinist Period Prokofiev and Shostakovich produced music so peasants could listen to it as they worked. x During the 17th century, Russian music consisted of sacred vocal music or folk type songs. x Peter the Great liked military music (such as the drums). He liked trumpet music, church bells and simple Polish music. He did not like French or Italian music. Nor did Peter the Great like opera. Notes Compiled by Carol Mohrlock 90 Igor Fyodorovich Stravinsky (1882-1971) I gor Stravinsky was born on June 17, 1882, in Oranienbaum, near St. Petersburg, Russia, he died on April 6, 1971, in New York City H e was Russian-born composer particularly renowned for such ballet scores as The Firebird (performed 1910), Petrushka (1911), The Rite of Spring (1913), and Orpheus (1947). The Russian period S travinsky's father, Fyodor Ignatyevich Stravinsky, was a bass singer of great distinction, who had made a successful operatic career for himself, first at Kiev and later in St. Petersburg. Igor was the third of a family of four boys.
    [Show full text]
  • Glazunov US 27/5/03 6:24 PM Page 5
    555048bk Glazunov US 27/5/03 6:24 PM Page 5 Moscow Symphony Orchestra Orchestral Works • 17 The Moscow Symphony Orchestra, one of Russia’s leading orchestras, was established in 1989 as the first independent orchestra in the country. During the years the orchestra has not only survived in the period of economic 8.555048 difficulties, but has strengthened its position and become one of the top orchestras in Russia. Since the early 1990s DDD it has been a regular participant in the Moscow musical seasons. The orchestra plays annually about twenty concerts GLAZUNOV in Moscow’s two best concert halls, the Great Hall of the Moscow Conservatory and the Tchaikovsky Concert Hall, and has its own subscription series. The repertoire includes both traditional and less known classical music, as well as compositions by contemporary composers. Apart from its educational work and its extensive concert programmes the orchestra has been widely recognised for its outstanding recordings, with over a hundred since Chopiniana 1994, principally for Naxos and Marco Polo. For this work the Moscow Symphony Orchestra has received several international awards including the ‘CD of the Month’ by the American magazine CD Review, the prestigious Overtures on Greek Themes French Diapason d’Or and the ‘Chairman’s Choice’ award in the Cannes International MIDEM conference, in addition to selection of a recording of film music by Bernard Herrmann as one of the ten best records of the year Moscow Symphony Orchestra • Vladimir Ziva 2001 by The Economist. The orchestra has also recorded music tracks for several Hollywood films. Since 1991 frequent tours have taken the orchestra to most European countries, Hong Kong, Japan, Korea and the United States.
    [Show full text]
  • The Dynasty of Chernigov, 1146–1246
    THE DYNASTY OF CHERNIGOV, 1146–1246 MARTIN DIMNIK published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb2 2ru,UK 40 West 20thStreet, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, SouthAfrica http://www.cambridge.org C Martin Dimnik 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Garamond 11/12.5 pt. System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data applied for isbn 0 521 82442 7 hardback Contents List of figures page xi List of maps xii List of genealogical tables xiii Preface xv Acknowledgments xxii Chronological table of events xxiv Glossary xxxii Abbreviations xxxiv Introduction 1 Historiography 1 The first hundred years 5 1 The third generation continued: 1146–1164 14 Igor fails in Kiev 14 Svyatoslav Olgovichfightsfor survival 26 Svyatoslav flees to the Vyatichi lands 34 Bishop Onufry champions Klim Smolyatich 39 Svyatoslav recovers the Vyatichi lands 41 The Davidovichi plot treachery 43 Igor’s death
    [Show full text]
  • UWSO 2021-2022 Season Brochure
    20212022 SEASON THURSDAY, OCTOBER 7, 2021, 7:30 P.M. THURSDAY, NOVEMBER 18, 2021, 7:30 P.M. OPENING SALUTE THE NIGHT! HEROES Katrina Zook, mezzo-soprano Katherine Smith, French horn Johann Strauss, Jr., Overture to Die Fledermaus Paul Phillips, guest conductor Maurice Ravel, Trois poèmes de Stéphane Mallarmé Valerie Coleman, Seven O’Clock Shout Pietro Mascagni, Intermezzo from Cavalleria Rusticana Paul Phillips, Wave George Frideric Handel, “Verdi prati, selve amene” Wolfgang Amadeus Mozart, Horn Concerto No. 3 from Alcina Johannes Brahms, Symphony No. 1 George Frideric Handel, “Cangio d’aspetto” from Admeto Ludwig van Beethoven, Symphony No. 1 SATURDAY & SUNDAY, TUESDAY, MARCH 29 THROUGH DECEMBER 11 & 12, 2021 SATURDAY, APRIL 2, 2022, 7:30 P.M., (times to be announced pending release of the AND SUNDAY, APRIL 3, 2:00 P.M. UW basketball schedule) GALA HOLIDAY FAUN AND CONCERTS: PETRUSHKA Buchanan Center Main Stage REJOICE AGAIN Two fully-staged ballets from the repertoire of Paris’ Ballets Russes, presented jointly with the Department of eatre Dean Camellia Okpodu, narrator and Dance UW Choruses, Holly Dalrymple & Brian Murray, conductors Rejoice with us again, as we celebrate the holidays and the return Claude Debussy, Prelude to the Afternoon of a Faun of these ever-popular concerts. Repertoire will include holiday Igor Stravinsky, Petrushka music both serious and popular, traditional and unknown, and a return of Eighth Candle, a Prayer and Dance for Hanukkah. THURSDAY, MAY 5, 2022, 7:30 P.M. SPECIAL EVENT THURSDAY, FEBRUARY 3, 2022, 7:00 P.M. AN AMERICAN IN PARIS CONCERTMASTER Andrew Staupe, guest piano soloist FUND RECITAL William Grant Still, In Memoriam: e Colored Buchanan Center Recital Hall Soldiers Who Died for Democracy Presenting our co-concertmasters, Saúl Fuego Garcia and Florence Price, Piano Concerto Brittany Kubiak, in a fundraising event for the Moore Jesse Ayers, Shinkansen Concertmaster Fellowship.
    [Show full text]
  • Season 2012-2013
    27 Season 2012-2013 Thursday, December 13, at 8:00 The Philadelphia Orchestra Friday, December 14, at 8:00 Saturday, December 15, Gianandrea Noseda Conductor at 8:00 Alisa Weilerstein Cello Borodin Overture to Prince Igor Elgar Cello Concerto in E minor, Op. 85 I. Adagio—Moderato— II. Lento—Allegro molto III. Adagio IV. Allegro—Moderato—[Cadenza]—Allegro, ma non troppo—Poco più lento—Adagio—Allegro molto Intermission Tchaikovsky Symphony No. 3 in D major, Op. 29 (“Polish”) I. Introduzione ed allegro: Moderato assai (tempo di marcia funebre)—Allegro brillante II. Alla tedesca: Allegro moderato e semplice III. Andante elegiaco IV. Scherzo: Allegro vivo V. Finale: Allegro con fuoco (tempo di polacca) This program runs approximately 1 hour, 55 minutes. The December 14 concert is sponsored by Medcomp. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world. Saratoga Springs, N.Y., and also those who enjoy the a strong partnership with The Philadelphia Orchestra’s other area the Bravo! Vail Valley Music Orchestra has cultivated performances at the Mann Festival.
    [Show full text]
  • Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice Tanya Gabrielian The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2762 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] RACHMANINOFF AND THE FLEXIBILITY OF THE SCORE: ISSUES REGARDING PERFORMANCE PRACTICE by TANYA GABRIELIAN A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 Ó 2018 TANYA GABRIELIAN All Rights Reserved ii Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Anne Swartz Chair of Examining Committee Date Norman Carey Executive Officer Supervisory Committee: Geoffrey Burleson Sylvia Kahan Ursula Oppens THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Rachmaninoff and the Flexibility of the Score: Issues Regarding Performance Practice by Tanya Gabrielian Advisor: Geoffrey Burleson Sergei Rachmaninoff’s piano music is a staple of piano literature, but academia has been slower to embrace his works. Because he continued to compose firmly in the Romantic tradition at a time when Debussy, Stravinsky, and Schoenberg variously represented the vanguard of composition, Rachmaninoff’s popularity has consequently not been as robust in the musicological community.
    [Show full text]
  • 111071-73 Bk Igor EU 11/03/2005 11:57Am Page 8
    111071-73 bk Igor EU 11/03/2005 11:57am Page 8 Synopsis CD 2 CD 1 Act II BORODIN Prologue 1 In the Polovtsian camp girls sing a hymn to the evening, 2 and dance to entertain Konchakovna, 2 The scene is the market-place of Putivl’. The people daughter of Khan Konchak. 3 Konchakovna sings of gather before their ruler, Igor Svyatoslavich, Prince of her planned meeting with Vladimir. She tells her Prince Igor Seversk. 3 He urges battle against the Polovtsians, 4 women to give the Russian prisoners, returning from but the people are anxious at an eclipse of the sun, a bad their labours, water to drink. 4 Their Polovtsian guards, omen. 5 Prince Igor insists on his campaign, 6 and his together with the baptized Polovtsian Ovlur, sing of the MELIK men leave for battle against their traditional Tartar end of the day. Ovlur remains behind, as they pass on. ER -P enemies. 5 Vladimir expresses his feelings twoards D A N SH Konchakovna. 6 She appears, and they sing together of A A Act I their love. 7 They leave as Prince Igor enters, X Y lamenting his captivity and separation from Yaroslavna. E E Scene 1 8 Ovlur steps forward, proposing a plan of escape. L V Prince Igor finds the suggestion dishonourable, but then A 7 At the court of Prince Vladimir Galitsky, brother of starts to demur. 9 He is greeted by his captor, Khan Prince Igor’s wife, Yaroslavna, the people praise him, Konchak, who offers him further hospitality, and appointed now by his brother-in-law to guard the suggests even an alliance between them, rejected by kingdom and the Princess, led by Skula and Yeroshka, Prince Igor.
    [Show full text]
  • Philological Sciences 61
    Philological sciences 61 GEOGRAPHICAL NAMES OF WATER OBJECTS IN «THE SONG OF IGOR’S CAMPAIGN» Sokolova E.N. Tyumen State University, Tyumen, e-mail: [email protected] The article is devoted to the topical problem in modern linguistic science – restoration Old Russian’s system of geographical names. «The Song of Igor’s Campaign» can be considered as important source for description system of hydronyms. Keywords: Old Russian written monuments, geographical names, hydronyms, etymological comments Place names of an era of the Old Russian nalistic list the story about Igor’s campaign «is state, being a cultural heritage of ethnic com- placed in the text of the Kiev chronicle which, munity of east Slavs, store in itself memory of in turn, got data from chronicles of Chernigov» the past of the Slavic people and their repre- [7, р. 92–93]. Igor Svyatoslavich’s entering sentations of a world order. As geographical into the Lavrentyevsky chronicle the history, names differ known stability and conservatism, appeared in it taken of chronicles of Suzdal, the perspective of their studying is on a joint and was transferred to the local chronicle of of history of language, etymology, lexicol- Pereyaslavl Southern. ogy and dialectology. Indirectly refl ecting his- As G.F. Kovalev notes, «from the point of torical and geographical reality, geographical view of proper name theory this work gives names the XI–XIII centuries keep forever so- in hands of the researcher excellent, often ciocultural, historical, lexicological and ethno a unique material. These are personal names of geographical information, refl ect valuable data heroes of the poem, the name of the ancient cit- on language contacts and ancient ethnic com- ies, settlements, the rivers, the names relating munications, migrations of the people, culture, to ancient Slavic mythology» [5, р.
    [Show full text]