Maxim Shostakovich (SR, P
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Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan U.A
AUSGABE 1. 2020 GEBURTS- UND GEDENKTAGE 90. GEBURTSTAG 2021 Sofia Gubaidulina AUSSERDEM Prokofjew, Denissow, Kantscheli, Geringas, Chatschaturjan u.a. INHALT / CONTENT Liebe Leserinnen, 03 / 22 liebe Leser, Sofia Gubaidulina 90. Geburtstag im Jahr 2021 die russische Komponistin Jelena Firssowa sagte ein- 06 / 24 mal über die von ihr bewunderte Sofia Gubaidulina, Georgische Musik sie sei eine „Schamanin in der Musik”, eine der tief- des 20. Jahrhunderts gründigsten und interessantesten Komponistinnen Kantscheli, Zinzadse, der Gegenwart. Im Jahr 2021 begeht Gubaidulina Nassidse ihren 90. Geburtstag. In diesem Magazin, das Kompo- nistenjubiläen der bervorstehenden Jahre 2021 und 08 / 26 2022 zum Inhalt hat, berichten wir von neuesten Sergej Prokofjew Werken Gubaidulinas und veröffentlichen zudem ein zum 130. Geburtstag dieser Komponistin gewidmetes Exklusiv-Interview 12 mit dem Dirigenten Kent Nagano. 100. Geburtstage von Francisco Tanzer & Stanisław Lem Ein weiteres Jubiläum steht uns mit Sergej Prokof- jews 130. Geburtstag im April 2021 bevor. Wir ver- 14 / 29 binden einen Rückblick auf die spektakuläre Neuin- 10. Todestag von szenierung von Prokofjews Oper „Die Verlobung im Karen Chatschaturjan Kloster” an der Staatsoper Berlin 2019 mit Kurzdar- stellungen ausgewählter Werke. 15 / 29 Edison Denissow Der 25. Todestag des Russen Edison Denissow, aus- 25. Todestag am 24. November 2021 gewählte Gedenktage von Komponisten aus Georgien 18 / 30 und zwei 100. Geburtstage von bedeutenden Text- Jubiläen litauischer dichtern wie Stanisław Lem und Francisco Tanzer Interpreten und Komponisten sind weitere Themen dieser Ausgabe. David Geringas & Bronius Kutavičius Wir wünschen Ihnen eine interessante Lektüre und viele Entdeckungen, 20 / 32 News Winfried Jacobs 19 Geschäftsführer Geburts- und Kennen Sie auch die anderen Gedenktage 2021 Hefte des SIKORSKI Magazins? 21 Vorschau 2022 IMPRESSUM FOTONACHWEISE Titel Sofia Gubaidulina © Priska Ketterer S. -
Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music. -
Building Cultural Bridges: Benjamin Britten and Russia
BUILDING CULTURAL BRIDGES: BENJAMIN BRITTEN AND RUSSIA Book Review of Benjamin Britten and Russia, by Cameron Pyke Maja Brlečić Benjamin Britten visited Soviet Russia during a time of great trial for Soviet artists and intellectuals. Between the years of 1963 and 1971, he made six trips, four formal and two private. During this time, the communist regime within the Soviet Union was at its heyday, and bureaucratization of culture served as a propaganda tool to gain totalitarian control over all spheres of public activity. This was also a period during which the international political situation was turbulent; the Cold War was at its height with ongoing issues of nuclear armaments, the tensions among the United States, the Soviet Union, and the United Kingdom ebbed and flowed, and the atmosphere of unrest was heightened by the Vietnam War. It was not until the early 1990s that the Iron Curtain collapsed, and the Cold War finally ended. While the 1960s were economically and culturally prosperous for Western Europe, those same years were tough for communist Eastern Europe, where the people still suffered from the aftermath of Stalin thwarting any attempts of artistic openness and creativity. As a result, certain efforts were made to build cultural bridges between West and East, including efforts that were significantly aided by Britten’s engagements. In his book Benjamin Britten and Russia, Cameron Pyke portrays the bridging of the vast gulf achieved through Britten’s interactions with the Soviet Union, drawing skillfully from historical and cultural contextualization, Britten’s and Pears’s personal accounts, interviews, musical scores, a series of articles about Britten published in the Soviet Union, and discussions of cultural and political figures of the time.1 In the seven chapters of his book, Pyke brings to light the nature of Britten’s six visits and offers detailed accounts of Britten’s affection for Russian music and culture. -
094-Au91431 1956 31
BRAHMS: Viola Sonatas, Op. 120 A These are the "clarinet" sonatas, so called because Brahms composed them for a clarinetist friend. They Paul Doktor, violist. Nadia Reisenberg, A were published alternately for the viola, however, and the rich, mellow tones of this instrument are perfectly pianist A suited to them. Doktor's superb musicianship weaves a mood all its own, but Miss Reisenberg's sensitive Westminster WN- or SWN-18114 12" pianism is complementary in the extreme. The sound is unusually lifelike. RP GINASTERA: Quartet No. 1 B-B Ginastera's slow movement has a certain atmospheric beauty; its mingling of impressionism and jungle LAJHTA: Quartet No. 7, Op. 49 A-A evocations recalls early Villa-Lobos. His fast movements, however, are built on rhythmic ostinati that become Paganini Quartet B-B tiresome. La¡hta is a kind of Hungarian Virgil Thomson. His language is diatonic, spiced with dissonance and Decca DL-9823 12" Magyar tunes. His Opus 49 is attractive but inconsequential. Earnest performances. AS LECLAIR: 6 Violin Sonatas • Leclair's music does not stray far from the idiom of his time (when polyphony was "old fashioned" but George Alès, violinist; Isabelle Nef, harp- • melodic writing had not yet found its strength). These sonatas are thoroughly violinistic, and if the listener sichordist • can occasionally predict the next passage of sequential modulation there are compensating moments of London L'Oiseau -Lyre OL-50087 8 2-12" lovely invention. Playing is vigorous, musical, sometimes rough in tone. SF PROKOFIEV: Violin Sonata, op. 94 A-B The transcribed flute sonata of Prokofiev has enjoyed a succession of variously KAREN KHACHATURIAN: Violin A-A superb performances on LP. -
A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich
A Russian Eschatology: Theological Reflections on the Music of Dmitri Shostakovich Submitted by Anna Megan Davis to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Theology in December 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. 2 3 Abstract Theological reflection on music commonly adopts a metaphysical approach, according to which the proportions of musical harmony are interpreted as ontologies of divine order, mirrored in the created world. Attempts to engage theologically with music’s expressivity have been largely rejected on the grounds of a distrust of sensuality, accusations that they endorse a ‘religion of aestheticism’ and concern that they prioritise human emotion at the expense of the divine. This thesis, however, argues that understanding music as expressive is both essential to a proper appreciation of the art form and of value to the theological task, and aims to defend and substantiate this claim in relation to the music of twentieth-century Russian composer Dmitri Shostakovich. Analysing a selection of his works with reference to culture, iconography, interiority and comedy, it seeks both to address the theological criticisms of musical expressivism and to carve out a positive theological engagement with the subject, arguing that the distinctive contribution of Shostakovich’s music to theological endeavour lies in relation to a theology of hope, articulated through the possibilities of the creative act. -
Press Release
Press Release Polish Premiere of Baltic Sea Youth Philharmonic’s ‘Baltic Sea Voyage’ programme at the Warsaw Philharmonic Concert Hall, 26 March 2015, 7.30 pm • Under the baton of Kristjan Järvi at the 19th Ludwig van Beethoven Easter Festival • BYP LAB from 22-25 March 2015 at the Krzysztof Penderecki Center for Music in Krakow Berlin, 23 March 2015. Baltic Sea Youth Philharmonic (BYP) returns to Poland to perform for the first time at the Ludwig van Beethoven Easter Festival, on Thursday 26 March at the prestigious concert hall, the Filharmonia Narodowa. Following on from its exhilarating debut at the Warsaw Philharmonic in 2014, BYP will now give the Polish premiere of its electrifying concert programme, Baltic Sea Voyage, under the baton of Founding Conductor and Music Director, Kristjan Järvi. The programme celebrates the rich and diverse musical landscape of the entire region, giving audiences the chance to discover the sounds of the countries bordering the Baltic Sea. Another Polish premiere will be the BYP LAB, the orchestra’s annual innovative educational workshop led by Kristjan Järvi and his team of internationally-renowned coaches. This year BYP LAB takes place at the Krzystzof Penderecki Center for Music in Krakow from 22 to 25 March 2015. Discover the unique sound of the Baltic Sea region Audiences of the Warsaw concert will have the chance to hear music from composers representing every country in the Baltic Sea region: Denmark, Sweden, Norway, Finland, Russia, Estonia, Latvia, Lithuania, Germany, and Poland. The programme of musical features 12 pieces of music, and will take audiences on a journey of discovery across the Baltic Sea. -
Benjamin Britten in the Music Culture of the Soviet Union in the 1960S (To the 100Th Anniversary of the Composer's Birth)
International Journal of Humanities and Social Science Vol. 3 No. 14 [Special Issue - July 2013] Benjamin Britten in the Music Culture of the Soviet Union in the 1960s (to the 100th Anniversary of the Composer's Birth) Alexander Rossinsky Department of Art Altai State University Russia Ekaterina Vorontsova Department of History Altai State University Russia Abstract The period of the 1960-s was difficult and controversial. Former allies of the anti-Hitler coalition turned to be on different sides of the acute ideological struggle which nearly led to the world war. Tremendous work was carried by artists, musicians who united disparate peoples into the community calling for the universal values. The central place in such the sphere of music belongs to one of the greatest composers of the 20th century, Benjamin Britten. Together with the Soviet musicians he pushed the world back from the sharp ideological confrontation. Keywords: B.Brittten, P.Pears, USSR, M.Rostropovich, G.Vishnevskaya, D.Shostakovich, symphonic and chamber music. The events unfolding in the world, which had survived the most destructive war in the history of human civilization, were dramatic and characterised by multi-vector directions of their development. The countries that joined the anti-Hitler coalition in the 40s, in the 60s were experiencing the peak of their ideological hostility, teetering on the verge of unleashing the third world war. At the same time, the Soviet Union, headed the unpredictable and highly controversial leader Nikita Khrushchev, pursued a policy of flirtations with liberalism in an attempt to overcome the cult of personality of Joseph Stalin and remove the notorious “Iron Curtain”, which for decades had protected the USSR from Western influence. -
The Baltic Sea Region the Baltic Sea Region
TTHEHE BBALALTTICIC SSEAEA RREGIONEGION Cultures,Cultures, Politics,Politics, SocietiesSocieties EditorEditor WitoldWitold MaciejewskiMaciejewski A Baltic University Publication A chronology of the history 7 of the Baltic Sea region Kristian Gerner 800-1250 Vikings; Early state formation and Christianization 800s-1000s Nordic Vikings dominate the Baltic Region 919-1024 The Saxon German Empire 966 Poland becomes Christianized under Mieszko I 988 Kiev Rus adopts Christianity 990s-1000s Denmark Christianized 999 The oldest record on existence of Gdańsk Cities and towns During the Middle Ages cities were small but they grew in number between 1200-1400 with increased trade, often in close proximity to feudal lords and bishops. Lübeck had some 20,000 inhabitants in the 14th and 15th centuries. In many cities around the Baltic Sea, German merchants became very influential. In Swedish cities tensions between Germans and Swedes were common. 1000s Sweden Christianized 1000s-1100s Finland Christianized. Swedish domination established 1025 Boleslaw I crowned King of Poland 1103-1104 A Nordic archbishopric founded in Lund 1143 Lübeck founded (rebuilt 1159 after a fire) 1150s-1220s Denmark dominates the Baltic Region 1161 Visby becomes a “free port” and develops into an important trade center 1100s Copenhagen founded (town charter 1254) 1100s-1200s German movement to the East 1200s Livonia under domination of the Teutonic Order 1200s Estonia and Livonia Christianized 1201 Riga founded by German bishop Albert 1219 Reval/Tallinn founded by Danes ca 1250 -
ALEXEY TATARINTSEV - Tenor Born in Tambov Region, Russia
ALEXEY TATARINTSEV - Tenor Born in Tambov region, Russia. He studied first as a choral conductor at the Tambov State Derzhavin University. In 2003 he entered the vocal department of the Victor Popov Academy of Choral Art in Moscow and completed his post graduate studies in 2009. Since 2008 he became soloist at the Novaya Opera Theatre in Moscow. In 2010 he made his debut at the Bolshoi Theatre as Yasha in the world premiere of the Fenelon’s opera “The Cherry Orchard” and has been since then their guest soloist. With Yasha’s role he made his debut at the Opéra National de Paris in 2011. His has performed Italian singer in Strauss’ “Der Rosenkavalier” and Ernesto in “Don Pasquale” at the Bolshoi theatre. In 2013 he performed Lensky in “Eugene Onegin” at the Teatro Regio in Turin. His repertoire in Moscow include Roméo in Gounod’s “Roméo et Juliette”, Rodolfo in “La bohème”, Vladimir Igorevich in Borodin’s “Prince Igor”, Ramiro in “Cenerentola”, Almaviva in “Barbiere di Siviglia”, Tamino in “Die Zauberflöte”, Nemorino in “L’Elisir d’Amore”, Young Gipsy in “Aleko”, Duca in “Rigoletto”, Lykov in “Tsar’s Bride”, Alfred in “Die Fledermaus” etc. Mr Tatarintsev is an active concert singer and has sung the tenor parts in Rossini’s Stabat Mater and Requiems by Mozart and Verdi. He collaborates with the Sretensky Monastery Choir and toured with them in 2008 in Rio de Janeiro, Sao Paulo, Buenos Aires, Asunción and Havana during the Days of the Russian Culture in Latin America. Another tour took place 2012 in the USA, where he performed at the prestigious concert halls with this choir, such as the Library of Congress and the Kennedy Center (Washington, DC), Carnegie Hall (New York City), Chicago Philharmonic (Chicago) and others. -
Depopulation in the Baltic States
DEPOPULATION IN THE BALTIC STATES Peteris Zvidrins Centre of Demography, University of Latvia 19 Rainis boulv., Riga, Latvia LV 1586, Phone: 371-67034787 or 371-29103629 (mob.) Fax: 371-67034787 E-mail: [email protected] The purpose of this paper is to characterize the level and dynamics of population reproduction in the three Baltic States (Estonia, Latvia and Lithuania) in the last two decades and analyze determinants of population decline. The collapse of the Soviet Union and the regaining of political independence in the Baltic States cardinally changed social and economic conditions and demographic developments. This inevitably led to fundamental changes in reproductive and migratory behaviour of population. As a result, the net migration in all Baltic States has become negative since 1990, and only in Estonia and Lithuania it was slightly positive in some years around the turn of centuries. After the accession to the European Union in 2004 emigration from the Baltic States even increased. The excess of deaths over births has been since 1991. A characteristic feature of the demographic development is the decrease of the population (depopulation) both the titular ethnicities (Estonians, Latvians and Lithuanians) and ethnic minorities. The total number of population in the Baltics decreased from 7.9 million in 1990 to less than 7.0 in 2009, or by 12%. Thus, the Baltic States have one of the highest population loss indicators in the world. Estonia and Latvia have had a low fertility rate since the beginning of the 20th century, and it has not ensured even a simple level of population replacement. -
Deterring Russian Aggression in the Baltic States Through Resilience and Resistance
Research Report C O R P O R A T I O N STEPHEN J. FLANAGAN, JAN OSBURG, ANIKA BINNENDIJK, MARTA KEPE, ANDREW RADIN Deterring Russian Aggression in the Baltic States Through Resilience and Resistance Introduction The governments and citizens of Estonia, Latvia, and Lithuania—the Baltic states—are subject to daily Russian strategic information operations and propaganda activities that are part of campaigns designed to undermine trust in their institutions, foment ethnic and social tensions, and erode confidence in North Atlantic Treaty Organization (NATO) KEY FINDINGS collective defense commit- ■ Total Defense and Unconventional Warfare (TD/UW) techniques and ments. These three countries forces can support deterrence, early warning, de-escalation, defense are also vulnerable to low-level, against invading forces, and liberation from occupation during the hybrid, and full-scale attacks by course of a hybrid or conventional conflict. Russian special operations and ■ Estonia, Latvia, and Lithuania are committed to enhancing the size and regular military forces deployed capabilities of their national guards and reserve forces and increasing close to their borders. In light whole-of society resilience and resistance efforts. All three countries of these concerns, and given are improving and expanding their small special operations forces. the imbalance between Russian ■ The United States, other NATO allies and partners, and the European and NATO conventional forces Union could take further concrete steps to support the development deployed in the Baltic region, of Baltic TD/UW capabilities by strengthening cooperation on crisis these governments and others management, intelligence sharing, civilian resilience, and countering Russian information warfare and hybrid attacks. -
Opera Oresteai 7-10 Opt 2 RBF Program 4-16 2
the richard b. fisher center for the performing arts at bard college Sergey Taneyev’s July 26 – August 4, 2013 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts, an environment for world-class artistic presentation in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking performances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium-arch space, and in the 220-seat Theater Two, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and cabaret; and the Bard Music Festival, which celebrates its 24th year in August with “Stravinsky and His World.” The 2014 festival will be devoted to Franz Schubert. The Center bears the name of the late Richard B. Fisher, the former chair of Bard College’s Board of Trustees. This magnificent building is a tribute to his vision and leadership. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. The Richard B. Fisher Center for the Performing Arts at Bard College Chair Jeanne Donovan Fisher President Leon Botstein presents Oresteia Music by Sergey Taneyev Russian libretto adapted by A. A. Venkstern after Aeschylus Directed by Thaddeus Strassberger American Symphony Orchestra Conducted by Leon Botstein, Music Director Set Design by Madeleine Boyd Costume Design by Mattie Ullrich Lighting Design by JAX Messenger Hair Design by Jon Carter Makeup Design by Lucia Aloi Sung in Russian, with English surtitles Sosnoff Theater July 26 and August 2 at 7 pm July 28, 31, and August 4 at 3 pm Running time for this performance is approximately three hours and 40 minutes, including two intermissions.