Roman Nasonov

Reconciliation in the Cathedral: Isaac’s Religion in “Owen-Mass”

Lyudmila Kovnatskaya

Peer Review of Roman Nasonov’s Article “Reconciliation in the Cathedral: Isaac’s Religion in ‘Owen-Mass’”

Levon Hakobian (Akopyan)

The Laws of Xenakis’s Music Not Formulated by Xenakis Himself

Maria Shatrashanova

Nazib Zhiganov Between the Official Ideology and New Music

Anastasia Timofeeva

A Sense of the East. “Wanderer’s Songs” by George Sviridov: History of Creation and Interpretation Experience

Andrey Bakhmin

Aleksey Lyubimov: “It’s Necessary to Try to Get Away from Your Emotions In Ustvolskaya’s Music”

Yaroslav I. Timofeev

Dmitri Tcherniakov: “I’m Psychopathically Obsessed with Perfectionism”

Marina Raku

An Own Way of Apollon Grigoriev

Evgenia Skurko, Elena Guseva

Five Poems by Arensky at the Verses by Schepkina-Kupernik: Towards the Problem of Poetic Text Interpretation in Music at the Edge of the 19 th—20 th centuries

Vadim Gayevsky

Bausch Images

Marina Nest’eva

“Boris Godunov” in Zurich: On Artistic and Technical Discoveries of the Coronavirus Era

Nataliya Schliefstein

Notes on Sonata Cycle of Cross-Cutting Development in Brahms’ Chamber Music

Mikhail Mishchenko

History Mirrored in a Motif: Grieg’s Motif and an Unrecognized Symbol

Yulia Panteleeva

About Constructive Principles in “Da” by Alexander Knaifel

Marina Rakhmanova

Timeless Documents

Elena Dolinskaya

There Are Never Too Many Talents

Boris Borodin

Vasiliy Il’ich Safonov: A Loving Daughter’s View

Krzysztof Meyer

About Nadia Boulanger