B. L. YAVORSKY AND A. SCHWEITZER IN BACH STUDIES: ON THE BASIS OF THE WRITINGS OF S. N. RYAUZOV
The article clarifies the influence of A. Schweitzer’s ideas on B. L. Yavorsky’s analyses of the preludes and fugues from J. S. Bach’s«The Well-Tempered Clavier» using symbolisms. The influence has already been noted in R. E. Berchenko’s work, but still remains understudied. Hence, the article investigates this issue using previously unstudied materials, written by Yavorsky’s pupil, S. N. Ryauzov, kept in the Russian National Museum of Music (RNMM) archive. The first part of the article compares Schweitzer’s ideas of motifs with Yavorsky’s ideas of symbols. Considering Ryauzov’s writings, the second part examines the influence of Schweitzer’s approach on Yavorsky, the similarity of their ideas regarding the connection between the preludes and fugues of «The Well-Tempered Clavier» and Protestant chorales. The article demonstrates that, early in the development of his analytical method, Yavorsky heavily referred to Schweitzer’s interpretation of motifs. Furthermore, Yavorsky used the connection between chorales and chorale preludes, revealed by Schweitzer, and applied it to that between the chorales and the preludes and fugues of «The Well-Tempered Clavier».