Marina Ritzarev

Biographic Data

ID3922220
NAMEMarina Ritzarev
GIVEN NAMESMarina
FAMILY NAMERitzarev
SIGNATURERITZAREV M
AFFILIATIONSBar-Ilan University
ORCID0000-0001-9508-0872
VERIFIEDYes
TOTAL WORKS10
TOTAL CITATIONS0
WORKS AS AUTHOR10
WORKS AS EDITOR0
FIRST PUBLICATION YEAR1998
LATEST PUBLICATION YEAR2024
H-INDEX0

  • Was Shostakovich’s Second Cello Concerto a Hidden Homage

    Open AccessMarina RitzarevARTICLEArts2024

    Shostakovich’s direct quotation from the Odessan street song “Bagels, Buy My Bagels!” (Bubliki, kupite bubliki!) in his Second Cello Concerto Op. 126 (1966) featured an unusual style, even in relation to some of his other compositions referencing popular and Jewish music. The song is widely known as one of the icons of the Odessa underworld. Shostakovich’s use of this melody as one of the main leit-themes of the Concerto can be compared to the us…

  • King David and the Frog

    Open AccessMarina RitzarevARTICLEMusicological Annual2015

    The interrelations between the liturgical and paraliturgical genres of sacred music in both live practice and in historiography are explored. Parallels are found between eighteenth-century Russian and modern Hebrew religious music. The author's theory of the vernacular in music is applied to explain the stylistic openness in paraliturgical music (as a parallel to onto-vernacular folklore)

  • Between Religion and Rationality

    Marina RitzarevARTICLEThe European Legacy2014

  • Jewish Identities

    Marina RitzarevARTICLEThe European Legacy2013

  • The Infinite Grace of Jesus

    Esti Sheinberg, Marina RitzarevARTICLEMusic and Letters2010

    In July 1880 Tchaikovsky wrote three letters in which he described the great impression that Massenet’s oratorio Marie-Magdeleine had made on him. Deeply moved by the duet between Jesus and Mary Magdalene, he composed a Romance to words by Alexey Tolstoy. This Romance became the second number of his Seven Romances, Op. 47. What did Tchaikovsky mean when he stated that he composed it ‘under the influence’ of Massenet’s Marie-Magdeleine, and how is…

  • Irony, Satire, Parody and the Grotesque in the Music of Shostakovich

    Marina Ritzarev, Esti SheinbergARTICLEThe Slavic and East European…2002

    Contents: Part 1: Introduction Part II: Irony: The concept of irony: philosophical background Incongruities as indicators of irony Part III: Satire: The structure of satire The structure of musical satire Satirizing techniques Part IV: Parody: Definitions of parody The structure of parody Historical background Techniques of parody Part V: The Grotesque: Definition, structure and content of the grotesque The satirical grotesque The grotesque at th…

  • Tchaikovsky through Others' Eyes

    Marina Ritzarev, Alexander Poznansky et al.ARTICLEThe Slavic and East European…2001

    The Schoolboy (1840-1863) Fanny Durbach, Fyodor Maslov, Ivan Turchaninov, Alexander Mikhailov, Vladimir Gerard, Rudolph Kundinger, Ippolit Tchaikovsky, Arkady Raich, Modest Tchaikovsky II. The Music Student (1863-1865) Modest Tchaikovsky, Vasily Bessel, Herman Laroche, Ivan Klimenko, Adelaida Spasskaya, Alexander Rubets III. The Conservatory Professor (1866-1876) Rostislav Genika, Mariya Gurye, Alexandra Amfiteatrova-Levitskaya, Samuil Litvinov, …

  • Shostakovich

    Marina Ritzarev, Laurel E Fay et al.ARTICLEThe Slavic and East European…2001

  • Musorgsky

    Marina RitzarevARTICLEThe European Legacy1999

    Musorgsky: Eight Essays and an Epilogue. By Richard Taruskin, Foreword by Caryl Emerson (Princeton, NJ: Princeton University Press; second printing, 1997) xxxiv + 415 pp. $19.95, £15.95 paper

  • Richard Taruskin-knight of Russian music

    Marina RitzarevARTICLEThe European Legacy1998References: 1