Preludes and Fugues op. 82 by Nikolai Kapustin: Classical or Jazz?

Ēvalds Daugulis

doi:10.4312/mz.56.1.133-147

Authors

Ēvalds Daugulis Daugavpils University, Latvia

DOI:

https://doi.org/10.4312/mz.56.1.133-147

Keywords:

classical music, jazz, prelude and fugue

Abstract

The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.

Downloads

Download data is not yet available.

References

Anderson, Martin. “Nikolai Kapustin, Russian composer of Classical jazz.” Fanfare 24, no. 1 (2000): 93–97.

Asafiev, Boris. Muzykal’naja forma kak process. [Musical Form as a Process.] Vols 1 and 2. 2nd edition. Leningrad: Muzyka, 1971. [Асафьев, Борис. Музыкальная форма как процесс. Книга первая и вторая. Издание 2-е. Ленинград: Музыка, 1971.]

Bellak, Richard. Fugal Dreams. Performed by Richard Bellak. RCB Sound RCBCD-001, 2005, CD.

Creighton, Randall. “A Man of Two Worlds: Classical and Jazz Influences in Nikolai Kapustin’s Twenty-Four Preludes, op. 53.” Doctoral dissertation, University of Arizona, 2009.

Daugulis, Ēvalds. “Basic Principles of Melody Harmonization in Jazz and Classical Music: Common and Different,” Kūrybos erdvės [The Spaces of Creation] 23 (2015): 15–22.

Dobbins, Bill. “Peterson, Oscar.” In The New Grove Dictionary of Jazz, 2nd ed., edited by Barry Kernfeld, vol. 3, 270–271. New York: Grove’s Dictionaries INC, 2002.

Frobenius, Wolf. “Polyphony.” In The New Grove Dictionary of Music and Musicians, 2nd ed., edited by Stanley Sadie, vol. 20, 74–83. London: Macmillan Publishers Limited, 2001.

Kapustin, Nikolai. Twenty-Four Preludes and Fugues, op. 82, vols. 1 and 2. Moscow: A-RAM, 2005.

Kārkliņš, Ludvigs. Mūzikas leksikons. Rīga: Raka, 2006.

Kirby, Frank Eugene. Music for Piano: A Short History. Portland, OR: Amadeus Press, 2015.

Pelēcis, Georg. “K voprosu o teorii polifoni: Istorija osveshhaet put’ sovremennosti.” In K 100-letiju so dnja rozhdenija V. V. Protopopova: materialy mezhdunarodnoj nauchnoj konferenci, edited by Tat’jana Dubravskaja, Nikolaj Tarasevich, 152–158. [“On the Question of Polyphony: History Casts Light upon the Path of Modernity.” In To the 100th Birthday of V. V. Protopopov; Materials of International Scientific Conference.] Moscow: Nauchno-izdatel’skij centr Moskovskaja konservatorija, 2011. [Пелецис, Георг. “К вопросу о теории полифони: История освещает путь современности.” К 100-летию со дня рождения В. В. Протопопова: материалы международной научной конференции, pед. сост. Татьяна Дубравская, Николай Тарасевич, 152–158. Mосква: Научно-издательский центр Московская консерватория, 2011.]

Rudolf, Walter. “Prelude.” In The New Grove Dictionary of Music and Musicians. 2nd ed., edited by Stanley Sadie, vol. 8, 893–896. London: Macmillan, 2001.

Russell, George. Lydian Chromatic Concept of Tonal Organization. New York: Concept Publishing CO, 1953.

Schuller, Gunther. “Third stream.” In The New Grove Dictionary of Jazz, edited by Barry Kernfeld, vol. 3, 745. Oxford: Oxford University Press, 2002.

Smith, Harriet. “Bridging the Divide: An Interview with Kapustin.” International Piano Quarterly 4, no. 13 (2000): 54–55.