Peter Chernobrivets

Peter Anatolievich Chernobrivets (Russian: Пётр Анато́льевич Чернобри́вец, born on 24 August 1965 in Leningrad, USSR) is a Russian musicologist, composer and lecturer.

Biography

Chernobrivets was born in Leningrad in 1965. He graduated from special secondary music school of the Leningrad State Conservatory named after Nikolai Rimsky-Korsakov in 1983 and from the Leningrad Conservatory in 1988 (the class of the professor T. Bershadskaya).

Chernobrivets is an author of compositions for a piano, instrumental company, and a chamber orchestra that have been performed in well-known concert halls of Saint Petersburg and other cities of Russia. In April 2015 and April 2016, two author’s concerts called “Dialogue of musical temperaments. Compositions in traditional and non-traditional musical tuning” took place on the new stage of The Mariinsky Theatre.

In 1993, Chernobrivets completed his master thesis in art history ("Style and subject-matter. On functional analogies". Based on the material of clavier music by George Frideric Handel). The area of his scientific interests includes harmony, musical style, and aesthetics. In 2014, he published a monograph “Basics of musical aesthetics”. In recent years, Chernobrivetz has been occupied in research related to an alternative musical tuning (20-tone equal temperament).

Chernobrivets started teaching in 1986 as a teacher of the special secondary music school of the Leningrad State Conservatory named after N. A. Rimsky-Korsakov. At present, he is an assistant professor of the Department of musical theory of The N. A. Rimsky-Korsakov Saint Petersburg State Conservatory teaching the courses of harmony and musical aesthetics.

Main scientific publications

Monograph

• Chernobrivets, Peter. Basics of musical aesthetics. Saint Petersburg, 2014. [In Russian].

Large-size articles

• Chernobrivets, Peter. Some principles of textural development in instrumental compositions by Handel. Problems of the texture. Collection of papers. Saint Petersburg, 1992, p. 113-127. [In Russian].
• Chernobrivets, Peter. Embodiment of the ideal in musical art. Metaphysics of music and music of metaphysics. Collection, Saint Petersburg, 2007. P. 162-184. [In Russian].
• Chernobrivets, Peter. Pitch of the sound and peculiarities of the system under conditions of 20-tone equal temperament. The journal of the Society of the musical theory, No.8, 2014/4. [In Russian].
• Chernobrivets, Peter. Melody as a function. Musiqi dünyasi. 4/49. 2011. P. 10–21
• Chernobrivets, Peter. Strong-style musical festival. Musicus. No.1 (29). 2012
• Chernobrivets, Peter. On perspectives of the functional approach to research in musical stylistics. The journal of the Society of the musical theory, No. 1. 2013/1
• Chernobrivets, Peter. On the essence of the concept “musical form”. Brief reflection.
• Chernobrivets, Peter. The knight of the counterpoint (in memory of O. Kolovskiy). Our teachers. Collection of memoirs of the teachers of the Department of musical theory of the Leningrad (Saint Petersburg) Conservatory. Saint Petersburg, 2006. P. 23—31.

• Чернобривец, Пётр (2014). Основы музыкальной эстетики. СПб. ISBN 978-5-91918-342-6. 
• Чернобривец, П. А. (1992). "Некоторые принципы фактурного развития в инструментальных произведениях Генделя. Проблемы фактуры". Сборник статей кафедры теории музыки Ленинградской (Петербургской) консерватории (in Russian). СПб: Издательство Петербургской консерватории. pp. 113–127. 
• Чернобривец, П. А. (1992). "Мелодия как функция". Musiqi dünyasi, №4 (49) (in Russian). СПб: Издательство Петербургской консерватории. pp. 10–21. 
• Чернобривец, П. А. (2006). "Рыцарь контрапункта (памяти О. П. Коловского). Наши учителя". Сборник воспоминаний о преподавателях кафедры теории музыки Ленинградской (Петербургской) консерватории (in Russian). СПб: Издательство Петербургской консерватории. pp. 23–31. 

Main musical compositions

Compositions for chamber orchestra, instrumental company and solo instruments

• 8 compositions for a chamber orchestra
• composition for a viola and a chamber orchestra
• composition for a string quartet
• 5 compositions for a string sextet
• 4 compositions for a sextet (mixed)
• 24 compositions for a piano
• 3 compositions for a violin and a piano
• 3 compositions for a cello and a piano
• composition for a viola and a piano
• 3 compositions for a flute and a piano
• composition for a bayan
• composition for a harp

In 20-tone equal temperament system

• 3 compositions for a clavier
• 5-miniature cycle for a clavier
• composition for a violin and a clavier
• 5-miniature cycle for a violin and a clavier
• 2 compositions for a cello and a clavier
• 4-miniature cycle for a cello and a clavier
• 6 compositions (a cycle of romances) for a mezzosoprano and a clavier
• composition for a string quintet
• 5-miniature cycle for a string quintet
• 4 compositions for a soprano and a clavier

Notes and references