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The article examines the multifaceted relations between Piotr Ilyich Tchaikovsky and the Russian Musical Society (RMS) in the aspect of their interaction and mutual influence. This relationship began during the period of Tchaikovsky’s studies at the Musical Classes affiliated with the RMS, and then at the St. Petersburg Conservatory, which presented a structural component of the RMS. It was particularly to the directorate of the RMS that in 1862 Tchaikovsky wrote his request about his enrollment at the Conservatory, and particularly the concerts organized by the RMS shaped the foundation of his compositional talent. Having become a professor of music theory at the Moscow Conservatory, Tchaikovsky entered into titular relations with the RMS as the superior organization: he signed official contracts, presented himself for rewards, and received material assistant. As a music critic Tchaikovsky illuminated the Society’s activities in the press for almost ten years. The creative path of Tchaikovsky the composer is connected in the closest manner with the RMS: he received commissions from the Society to write compositions; various regional sections of the Society (primarily, the Moscow and St. Petersburg Sections) presented concert venues to him; many premieres of Tchaikovsky’s works took place at the orchestral and chamber assemblies of the RMS. The rise in the number of concerts of the RMS with Tchaikovsky’s music towards the second half of the 1880s, and then the loss of this precedence indicates at the tendency of the decrease of the prestige of the RMS and the increase of the authority of other concert organizations in the early 1890s. An aspiration to halt the decline in the RMS was what in many ways stipulated Tchaikovsky’s activities as the director of the Moscow Section of the RMS, his work on inviting outstanding musicians for participation in the Society’s concerts, as well as the activities of Tchaikovsky the conductor during the period of his directorship. No less significant from the historical perspective the endeavors of Tchaikovsky the director were connected with his aspiration to uphold the high tradition of the Moscow Conservatory, in light of which we may view his initiatives of confirming Sergei Taneyev on the post of the director of the conservatory and inviting Vassily Safonov. In this manner the article traces the mutual advantage of Tchaikovsky’s interactions with the RMS on a historical-cultural scale. Keywords: Piotr I. Tchaikovsky, the Russian Musical Society, the first conservatories in Russia, concert life in Russia of the 2nd half of the 19th century, performances of Tchaikovsky’s music during his lifetime.

The article is focused on the sources of education for music theorists and composers in Russia. It examines the question, for the preparation of what kinds of musicians the major studies of “Music Theory” were directed: whether it brought up instructors of music theory disciplines, or provided for education for composers? This question is legitimate already because Piotr Tchaikovsky in his aspiration to become a composer wrote a request to enroll into a special class of music theory at the St. Petersburg Conservatory, while in his diploma among the enumerated disciplines that of “Composition” is lacking. The historical documents, preserved in the archives of St. Petersburg, Moscow and Klin, bear witness that the music theory students were taught according to one program of preparation of composers. The entire process of study, in which the theory and practice of musical composition were placed on par with each other, was directed towards the achievement of this aim. The sources of the given concept lie in the German practice of teaching professional musicians, first of all, in the theoretical pedagogical system of Adolf Bernhard Marx. His pupil and follower, Nikolai Zaremba became the founder of Russian conservatory education, which was based on Marx’s system. And Zaremba’s pupil Tchaikovsky transferred the principles of parity teaching of the theory and practice of composition to the Moscow Conservatory. How these principles were carried out in the teaching of the disciplines “Harmony,” “Counterpoint,” “Form and Fugue,” “Orchestration” and “Composition” is examined in the article on concrete examples, which are the archival sources: the textbook “Forms” by Zaremba’s pupil Vasily Safonov and the rough drafts of the programs for music theory disciplines made by Tchaikovsky. Keywords: first Russian conservatories, education for music theorists and composers, musical source studies, Adolf Bernhard Marx, Nikolai Zaremba, Piotr Tchaikovsky.

The object of research in this article is Piotr Tchaikovsky’s translation from French into Russian of Francois-Auguste Goevart’s “Traite general d’instrumentation.” This work was published by the P. Jurgenson Press under the title of “Guidebook for Orchestration” in 1866. The translation is presented as a product of its age and, at the same time, as a monument to the musical theoretical thought of the second half of the 19th century. The author of the article examines such peculiarities of translation as the unification of the scholarly and journalistic stylistics in the text in Russian, the translator’s involvement in the original text in the form of verbal commentaries and additional music examples (fragments of musical compositions by Mikhail Glinka), the combination of translation with criticism of a set of the author’s position. Such admissions are analyzed with the consideration of: 1) the influence of journalism on scholarly translation, typical for 19 th century; 2) the characteristic approach to translation as social and educational activities; 3) the possibilities of utterance by the translation of his own views on the subject, not always concurrent with the positions of the author of the translated text. A perspective of the approach towards the translation of Tchaikovsky is suggested as a form of artistic mediation between cultures. Keywords : Piotr Tchaikovsky, Francois-Auguste Goevart, orchestration, translations of music theory works in the 19 th century, dialogue of cultures