DOCSLIB.ORG

6.5 X 11.5 Doublelines.P65

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6.5 X 11.5 Doublelines.P65 Cambridge University Press 978-0-521-11118-8 - Shostakovich Studies 2 Edited by Pauline Fairclough Index More information Index Abbate, Carolyn 211 Brecht, Bertolt 32 Akhmatova, Anna 196, 207, 212, 213, 223 Life of Galileo, The 32–3 Akimov, Nikolay 129 Resistable Rise of Arturo Ui, Alekhin, Alexander 258, 314 The 32 Alexandrov, Grigoriy 261–2 Bright Stream, The (ballet score) op. 39 71, Alone (film score) op. 26 3, 100–20 236, 276 ‘American Song’ (unpublished, from Britten, Benjamin 196, 205, 207, 226 Meeting on the Elbe) 3, 261 War Requiem 196, 205, 226 Anti-Formalist Rayok 270 Bruckner, Anton 94–5, 262 Arapov, Boris 42 Bulgakov, Mikhail Arkad’yev, Mikhail 246–7 Heart of a Dog, The 14, 270, 275 Arkanov, Boris 8–10 Master and Margarita, The 270 Arnshtam, Lev 41 Asaf’yev, Boris 99 Carpenter, Ellon 122 Aseyev, Nikolay 7 Cello Concerto No. 1 op. 107 50, 252 ASM (Association of Contemporary Cello Concerto No. 2 op. 126 205 Music) 263–4, 266 Chaikovsky, Pyotr 96, 256 Overture ‘1812’ 268 Bakhtin, Mikhail 3, 191–3, 196, 200, 204, Queen of Spades, The 84 206, 209–12, 213–17, 219–22, Symphony No. 6 96 225, 227 Yevgeniy Onegin 84 Bedbug, The (incidental music) op. 19 23, Chelyapov, Nikolay 238–47, 248, 310 26–7, 28, 127–30, 259 Chemberdzhi, Nikolay 238, 242, 244 Bednïy, Dem’yan 8–10 Children’s Games op. 69 126, 155 The Solution 8–9 Chopin, Frederic 124 Beethoven, Ludwig van Prelude in D minor op. 24 135–8 Piano Sonata No. 32 op. 111 66 Committee for Artistic Affairs 232–3, 234– Piano Trio in C Minor, 48 op. 1 No. 3 126, 131 Conditionally Killed (revue) Symphony No. 9 op. 125 39, 124, 162 op. 31 30–1 Beethoven Quartet 43–5 Cone, Edward 203, 208, 211, 214–15 Belïy, Viktor 242, 265 Counterplan, The (film score) Belyayev, Alexander 274 op. 33 8, 134 Big Lightning, The (unfinished operetta) 11–13, 29–30 Davidenko, Alexander 129–30, 265, 266–7, Bizet, Georges, Carmen 80, 84 269–70, 316 Black Monk, The (unfinished opera) 26 ‘They Wanted to Defeat Us’ 316 Blanter, Matvey 238, 242, 260 Declared Dead, see Conditionally Killed Bogdanov-Berezovskiy, Valeryan 9, 56–8, Dolmatovskiy, Yevgeniy 3, 249–54 59–60, 69, 72–3, 118 Dolzhanskiy, Alexander 122 Boldïrev, Igor 43 Alexandrian pentachord 122, 144, Bolt, The (ballet score) op. 27 30, 31, 266 155, 170 319 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11118-8 - Shostakovich Studies 2 Edited by Pauline Fairclough Index More information 320 Index Dostoyevsky, Fyodor 192–3, 198, 225, 226, Haas, David 79, 101, 122 227, 268 Hakobian, Levon 101, 196, 198, 200–3, 300 Crime and Punishment 193 Hamlet (incidental music) op. 32 126, 129, Devils, The 225, 226, 268 133, 214 Dunayevskiy, Isaak 244 Holquist, Michael 217 Dzerzhinskiy, Ivan 233, 235, 241, 242 Human Comedy, The (incidental music) The Quiet Don 233, 235, 242 op. 37 12 Eight Preludes for Piano op. 2 56, 57, 61, Kabalevskiy, Dmitriy 234 66–7, 69–71, 73 Kerzhentsev, Platon 232–3, 234, 236, 237, Eisenstein, Sergey 46, 102, 103 238–9, 240–1, 243–8 Battleship Potemkin 102 Khachaturyan, Aram 79, 238 Emerson, Caryl 192, 193, 198, 206, 209, Kholopov, Yuriy 201–2 213, 224, 226 Khrennikov, Tikhon 241 Ermler, Friedrich 41 Konstantinovskaya, Yelena 80, 84 Eskin, Michael 211 Korchmaryov, Kliment 115–16 Kozintsev, Grigoriy 41, 46, 100–5, 108–10, Fairclough, Pauline 144, 209, 301 111–15, 117, 119 Fanning, David 122, 124, 142–4, 189 on the shaman Kondraty Tanashev Fay, Laurel 1, 29, 190 113, 293 Five Fragments for Orchestra op. 43 71 on work on The New Babylon 101, 103, Five Romances on Texts from ‘Krokodil’ 108–10, 116 Magazine op. 121 211 Kuba, Natasha 56 Five Romances on Texts of Ye. Kustodiyev, Boris 57 Dolmatovskiy op. 98 249, 253–4 Four Monologues on Texts by A. Pushkin Lady Macbeth of Mtsensk District, The op. 91 223, 253 (opera) op. 29 8, 11, 25–6, 29–30, 51, Four Romances on Texts of A. Pushkin op. 111, 121–5, 132–4, 138–40, 144, 146– 46 125, 134, 142–62, 169–70, 172, 173, 9, 154–5, 161, 162, 168, 170, 173, 180, 175–80, 187–8, 218, 223–4, 227 181–2, 188, 233, 235, 236 Four Songs on Texts of Ye. Dolmatovskiy LASM (Leningrad Association of op. 86 249–50, 252, 254 Contemporary Music) 264 Four Verses of Captain Lebyadkin op. 146 Lebedinskiy, Lev 237, 239–40, 270 211, 225–6 Limpid Stream, The, see Bright Stream, The From Jewish Folk Poetry op. 79 2, 51, 125, Litvinova, Flora 253–4, 312 183–7, 216, 254 Loyalty (choral work) op. 136 252 Lyubimov, Yuriy 32, 277 Gergiev, Valery 3, 77–8, 98, 99 Life of Galileo, The 32, 277 Girl Friends (film score) op. 41a 71 Glazunov, Alexander 53, 67 Machavariani, Alexey 79–81, 88, 93, 99 Glière, Reinhold 244–5, 267 Maes, Francis 210 Glikman, Isaak 29, 32, 37–9, 41, 48, 88, Mal’ko, Nikolay 63–4, 68 195–6, 197, 253 relations with Shostakovich 286 Glivenko, Tatyana 57, 59–60 Mariengof, Anatoliy 7–8 Gmïrya, Boris 253 Maximenkov, Leonid 1, 232, 243 Golden Age, The (ballet score) op. 22 Mayakovskiy, Vladimir 10, 13, 26–7, 28, 12, 266 259, 262 Golden Mountains, The (film score) The Bedbug 13, 23, 127, 259 op. 30 119 McBurney, Gerard 274 Gorodinskiy, Viktor 238 Meeting on the Elbe (film score) op. 80 3, Greek Songs sans op. 2, 254 252, 261–2 Grinberg, Moisey 238, 239–42 Meyer, Leonard B. 88, 95 Gypsies, The (unfinished opera) 26 Meyerhold, Vsevolod 26–7, 28, 259 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11118-8 - Shostakovich Studies 2 Edited by Pauline Fairclough Index More information 321 Index Michurin (film score) op. 78 49 Proletkul’t 263–4, 268 Moskva, Cheryomushki (operetta) Pshibïshevskiy, Boleslav 246–7, 266, op. 105 253 267, 317 Mosolov, Alexander 266 Pudovkin, Vsevolod 46, 103 Muradeli, Vano 49, 241, 243 Pushkin, Alexander 207, 209, 213, 221, Musorgsky, Modest 196, 200, 226, 253, 222, 223–5 257, 269 Boris Godunov 84 Rabinovich, David 44 Khovanshchina 84 Rabinovich, Nikolay 119 Songs and Dances of Death 196, 269 Raikh, Zinaida 27 Myaskovskiy, Nikolay 241, 266 RAPM (Russian Association of Proletarian Musicians) 130, 134, 237, 239–40, New Babylon, The (film score) op. 18 46, 246, 264, 265, 266–70 100, 101, 103, 106, 108–9, 111, 114, RAPP (Russian Association of Proletarian 116–17, 120 Writers) 264, 265 Nielsen, Carl, Symphony No. 5 87, 96 Redepenning, Dorothea 145–6, 149, 161, 226 Nikolayev, Leonid 69 Return of Maxim, The (film score) Nose, The (opera) op. 15 26, 29, 104, 108, op. 45 241 111, 129, 266, 267 Rimsky-Korsakov, Nikolay 163, 207, 235 ‘I Waited for You in the Grotto’ 61–2, 67 Ogolevets, Alexey 242 Rodchenko, Alexander 259, 314 Oistrakh, David 34 Roseberry, Eric 299 Roslavets, Nikolay 264, 266 Partisan’s Son, A (unrealised opera project) Rozanova, Alexandra 62–3 2, 21–3 People’s Will (unfinished opera) 11, 29 Saint-Saëns, Camille, Danse macabre 200 Piano Concerto No. 1 op. 35 54, 134 Salzer, Felix 78, 99 Piano Quintet op. 57 44, 182 Samosud, Samuil 233, 235 Piano Sonata No. 1 op. 12 54–6, 194 Satires (Pictures of the Past) op. 109 211, Piano Sonata No. 2 op. 61 182 221, 226 Piano Sonata in B minor (lost) 53–65, 70, Schenker, Heinrich 78, 83, 90–2, 99 72–3 Scherzo in F♯ minor op. 1 53–73 Piano Trio No. 1 op. 8 54–6, 57, 58–60 Scherzo in E♭ major op. 7 57, 73 Piano Trio No. 2 op. 67 182 Schmelz, Peter 201 Pokrass, Dmitriy, ‘March of Budyonniy’ Selvinskiy, Ilya 274 115–15, 116, 119 Seven Verses of A. Blok op. 127 195, 212, Pokrass, Samuil 238 214, 218, 221, 227 Popov, Gavriil 22–3, 29, 39, 240 Shaporin, Yuriy 10 relations with Alexey Tolstoy 22 The Decembrists 10 Portrait, The (unrealised opera project) 26 Shatïlov, 245–6 Pravda, attacks on Shostakovich 134, 142– Shcherbachev, Vladimir 39, 266 5, 231, 233, 234, 235, 236–7, 239, 240, Shebalin, Vissarion 10, 190, 237, 241, 266 247–8 Sheinberg, Esti 126, 301 Preface to the Complete Edition of My Shirinskaya, Nina Borisovna 44 Works and a Brief Reflection on This Shirinskaya, Nina Vasil’yevna 44 Preface op. 123 225 Shneyerson, Grigoriy 72, 287 Preys, Alexander 26 Shostakovich, Dmitriy Prokofiev, Lina 256 as football fan 41 Prokofiev, Sergey 125, 126, 241, 242, 243, as teacher 260 246, 250 attack on light music 267 PROKOLL (Industrial Collective of attitude to civic duties 256, 257 Student Composers) 265 attitude to Davidenko 266, 269–70 The Path of October 265, 269 attitude to Mayakovskiy 259, 262 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-11118-8 - Shostakovich Studies 2 Edited by Pauline Fairclough Index More information 322 Index Shostakovich, Dmitriy (cont.) String Quartet No. 4 op. 83 121, 124–5, 134, attitude to Meyerhold 259 182–8 attitude to Weinberg 47 String Quartet No. 7 op. 108 188–9 on Five Romances on Texts of Ye. String Quartet No. 8 op. 110 2, 92, 188, 189 Dolmatovskiy 253 String Quartet No. 14 op. 142 188–9 on his composing processes 190 String Quartet No. 15 op. 144 205 on Moskva, Cheryomushki 253 Suite in F♯ minor for Two Pianos op.
Load more

Recommended publications
  • University Symphony Orchestra "Encounters"
    FierbergerCollegeYEARS of Fine Arts University Symphony Orchestra "Encounters" Timothy Russell, conductor Mischa Semanitzky and Gunther Schuller, guest conductors Kimberly Marshall, organ David Ballou, trumpet Seamus Blake, tenor saxophone Allan Chase, alto saxophone With the ASU Concert Jazz Band School of Music Herberger College of Fine Arts Arizona State University Friday, September 17, 2004 7:30 p.m. Gammage Auditorium ARIZONA STATE M UNIVERSITY Program Overture to Nabucco Giuseppe Verdi (1813 — 1901) Timothy Russell, conductor Symphony No. 3 (Symphony — Poem) Aram ifyich Khachaturian (1903 — 1978) Allegro moderato, maestoso Allegro Andante sostenuto Maestoso — Tempo I (played without pause) Kimberly Marshall, organ Mischa Semanitzky, conductor Intermission Remarks by Dean J. Robert Wills Remarks by Gunther Schuller Encounters (2003) Gunther Schuller (b.1925) I. Tempo moderato II. Quasi Presto III. Adagio IV. Misterioso (played without pause) Gunther Schuller, conductor *Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you. Program Notes Symphony No. 3 – Aram Il'yich Khachaturian In November 1953, Aram Khachaturian acted on the encouraging signs of a cultural thaw following the death of Stalin six months earlier and wrote an article for the magazine Sovetskaya Muzika pleading for greater creative freedom. The way forward, he wrote, would have to be without the bureaucratic interference that had marred the creative efforts of previous years. How often in the past, he continues, 'have we listened to "monumental" works...that amounted to nothing but empty prattle by the composer, bolstered up by a contemporary theme announced in descriptive titles.' He was surely thinking of those countless odes to Stalin, Lenin and the Revolution, many of them subdivided into vividly worded sections; and in that respect Khachaturian had been no less guilty than most of his contemporaries.
    [Show full text]
  • Shostakovich (1906-1975)
    RUSSIAN, SOVIET & POST-SOVIET SYMPHONIES A Discography of CDs and LPs Prepared by Michael Herman Dmitri Shostakovich (1906-1975) Born in St. Petersburg. He entered the Petrograd Conservatory at age 13 and studied piano with Leonid Nikolayev and composition with Maximilian Steinberg. His graduation piece, the Symphony No. 1, gave him immediate fame and from there he went on to become the greatest composer during the Soviet Era of Russian history despite serious problems with the political and cultural authorities. He also concertized as a pianist and taught at the Moscow Conservatory. He was a prolific composer whose compositions covered almost all genres from operas, ballets and film scores to works for solo instruments and voice. Symphony No. 1 in F minor, Op. 10 (1923-5) Yuri Ahronovich/Moscow Radio Symphony Orchestra ( + Overture on Russian and Kirghiz Folk Themes) MELODIYA SM 02581-2/MELODIYA ANGEL SR-40192 (1972) (LP) Karel Ancerl/Czech Philharmonic Orchestra ( + Symphony No. 5) SUPRAPHON ANCERL EDITION SU 36992 (2005) (original LP release: SUPRAPHON SUAST 50576) (1964) Vladimir Ashkenazy/Royal Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15, Festive Overture, October, The Song of the Forest, 5 Fragments, Funeral-Triumphal Prelude, Novorossiisk Chimes: Excerpts and Chamber Symphony, Op. 110a) DECCA 4758748-2 (12 CDs) (2007) (original CD release: DECCA 425609-2) (1990) Rudolf Barshai/Cologne West German Radio Symphony Orchestra (rec. 1994) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 and 15) BRILLIANT CLASSICS 6324 (11 CDs) (2003) Rudolf Barshai/Vancouver Symphony Orchestra ( + Symphony No.
    [Show full text]
  • DSCH Journal No. 24
    DOCUMENTARY III VARIANT AND VARIATION[1] IN THE SECOND MOVEMENT OF THE ELEVENTH SYMPHONY Lyudmila German The Eleventh Symphony, form, as it ‘resists’ develop- named Year 1905, is a pro- mental motif-work and frag- ach of Shostakovich’s gram work that relates the mentation. [2]” symphonies is unique in bloody events of the ninth of Eterms of design and January, 1905, when a large Indeed, if we look at the sec- structure. Despite the stifled number of workers carrying ond movement of the sym- atmosphere of censorship petitions to the Tsar were shot phony, for instance, we shall which imposed great con- and killed by the police in the see that its formal structure is strains, Shostakovich found Palace Square of St. Peters- entirely dependent on the nar- creative freedom in the inner burg. In order to symbolize rative and follows the unfold- workings of composition. the event Shostakovich chose ing of song quotations, their Choosing a classical form such a number of songs associated derivatives, and the original as symphony did not stultify with protest and revolution. material. This leads the com- the composer’s creativity, but The song quotations, together poser to a formal design that rather the opposite – it freed with the composer’s original is open-ended. There is no his imagination in regard to material, are fused into an final chord and the next form and dramaturgy within organic whole in a highly movement begins attacca. the strict formal shape of a individual manner. Some of The formal plan of the move- standard genre.
    [Show full text]
  • Edinburgh International Festival 1962
    WRITING ABOUT SHOSTAKOVICH Edinburgh International Festival 1962 Edinburgh Festival 1962 working cover design ay after day, the small, drab figure in the dark suit hunched forward in the front row of the gallery listening tensely. Sometimes he tapped his fingers nervously against his cheek; occasionally he nodded Dhis head rhythmically in time with the music. In the whole of his productive career, remarked Soviet Composer Dmitry Shostakovich, he had “never heard so many of my works performed in so short a period.” Time Music: The Two Dmitrys; September 14, 1962 In 1962 Shostakovich was invited to attend the Edinburgh Festival, Scotland’s annual arts festival and Europe’s largest and most prestigious. An important precursor to this invitation had been the outstanding British premiere in 1960 of the First Cello Concerto – which to an extent had helped focus the British public’s attention on Shostakovich’s evolving repertoire. Week one of the Festival saw performances of the First, Third and Fifth String Quartets; the Cello Concerto and the song-cycle Satires with Galina Vishnevskaya and Rostropovich. 31 DSCH JOURNAL No. 37 – July 2012 Edinburgh International Festival 1962 Rostropovich and Vishnevskaya in Edinburgh Week two heralded performances of the Preludes & Fugues for Piano, arias from Lady Macbeth of Mtsensk, the Sixth, Eighth and Ninth Symphonies, the Third, Fourth, Seventh and Eighth String Quartets and Shostakovich’s orches- tration of Musorgsky’s Khovanschina. Finally in week three the Fourth, Tenth and Twelfth Symphonies were per- formed along with the Violin Concerto (No. 1), the Suite from Lady Macbeth of Mtsensk, the Three Fantastic Dances, the Cello Sonata and From Jewish Folk Poetry.
    [Show full text]
  • Concert Film Music
    Movies in Concert: Concert Film Music Concert music based on film music: music composed for films and been recast into concert works music that many people don’t realise was composed for films Although we made every effort to make this list as complete and as accurate as possible, this list is certainly not complete and additional info will be highly appreciated. To get in touch with us you can use our ”Contact MIC” page on: http://www.moviesinconcert.nl/index.php?page=contact RICHARD ADDINSELL - Warsaw Concerto: from the 1941 movie Dangerous Moonlight MALCOLM ARNOLD The Holly and the Ivy (Fantasy on Christmas Carols), music from a 1952 British drama film adapted from the play of the same name by Wynyard Browne, directed by George More O'Ferrall - Symphonic Study 'Machines, Op. 30 (1952), based on his score for the documentary 'Report on Steel' (1948) - The Sound Barrier - A Rhapsody for Orchestra, Op 38 (1952), based on his score for 'The Sound Barrier' (1952) - Scherzetto, from the film “You know what sailors are” ARTHUR BENJAMIN - Storm clouds: Cantata composed for and used in the film The Man Who Knew Too Much LEONARD BERNSTEIN - On the waterfront: music from the 1954 movie by Elia Kazan HOWARD BLAKE - A month in the country: suite (opus 446), A concert work for string orchestra adapted from the film score ARTHUR BLISS - Suite from Things to Come: from the movie of the same name and recorded by the LSO in 1957 BENJAMIN BRITTEN - Around the village green (also entitled 'Village harvest') uses the tune 'The bottom of the punch bowl' It was composed as the title music for a documentary film of the same name (by Marion Grierson and Evelyn Spice) - The Young Person's Guide to the Orchestra, opus 34: composed in 1946 to accompany an educational film produced by the British government and featured in the Oscar-nominated film Moonrise Kingdom AARON COPLAND - Barley Wagons - The City, 1939 (Documentary short), music to a short documentary film from 1939.
    [Show full text]
  • Izbor Muzike Za Film
    IZBOR MUZIKE ZA FILM Priredila Irena Paulus za WAM GEORGES AURIC LA BELLE ET LA BETE Marco Polo 8223765 AU YEUX DU SOUVENIR ORPHEÉ Marco Polo 8225066 ELEMER BERNSTEIN MAN WITH THE GOLDEN ARM Spectrum Music 544627-2/Trax Music MODEM CD 1013 THE TEN COMMANDMENTS Soundtrack Library CD-72/MCA Classics MCAD 42320 THE MAGNIFICENT SEVEN RCA Records 09026-63240-2/Koch Records 3-7222-2 H1 TO KILL A MOCKING BIRD Varese Sarabande VSD 5754 & VSD 5266 THE WALK ON THE WILDSIDE Mainstream MDCD 103 THE GREAT ESCAPE Intrada MAF 7025D/ RCA 63241 HAWAII Tsunami TSU 0105 MY LEFT FOOT Varese Sarabande VSD 5244 CHARLIE CHAPLIN CHARLIE CHAPLIN – THE FILM MUSIC RCA Records 09026 68271 2 BERNARD HERMANN CITIZEN KANE Varese Sarabande VSD 5806/ RCA Victor GD 80707 JANE EYRE Marco Polo 8.223535/ Soundtrack Library 002 GHOST AND MRS. MUIR Varese Sarabande VSD 5850 & VSD 47254 THE SNOWS OF KILIMANJARO Marco Polo 8.225168 TROUBLE WITH HARRY Varese Sarabande VSD 5971 VERTIGO Intersound/Pro Arte CDS 524/ Var. Sar. VSD 5759 JOURNEY TO THE CENTER OF THE EARTH Varese Sarabande VSD 5849 NORTH BY NORTHWEST Rhino Music/TCM Turner Music R272101 PSYCHO Varese Sarabande VSD 5765 CAPE FEAR Tsunami TCI 0605/Soundstage Records 525 FAHRENHEIT 451 Varese Sarabande VSD 5551 TAXI DRIVER Varese Sarabande VSD 5279 THE TWIGLIGHT ZONE Varese Sarabande VSD 302-066-087 B. HERMANN THE FILM SCORES Sony SK 62700 MAURICE JARRE LAWRENCE OF ARABIA Varese Sarabande VSD – 5263/ Silva America SSD 1010 DR. ZHIVAGO CBS Special AK 45437/ Rhino R2 71957/MCA Records MCAD 37164 RYAN'S DAUGHTER EMI Records
    [Show full text]
  • CURRENT and PAST APPOINTMENTS Associate
    Joan Titus [email protected] Short CV Page 1 CURRENT AND PAST APPOINTMENTS Associate Professor, University of North Carolina, Greensboro, Fall 2013–present Assistant Professor, University of North Carolina, Greensboro, Fall 2007–Fall 2013 Lecturer, The Ohio State University, Winter, Spring, and Summer 2007 Graduate Teaching/Research Associate, The Ohio State University 1998–2005 Graduate Research and Administrative Associate, The Ohio State University 2002–2003 EDUCATION The Ohio State University, Ph.D. Musicology, December 2006 Dissertation title: Modernism, Socialist Realism, and Identity in the Early Film Music of Dmitry Shostakovich, 1929–1932 The Ohio State University, M.A. Musicology; secondary areas in Film Studies and Slavic Studies, 2002 Thesis title: Montage Shostakovich: Film, Popular Culture, and the Finale of the Piano Concerto No.1 The University of Arizona, B.A.M. Music History, Art History, Violin Perf., Magna Cum Laude, 1998 AWARDS AND HONORS 2017 Distinguished Mentor Award, Honors College, UNC Greensboro 2014 AMS 75 PAYS Publication Subvention for The Early Film Music of Dmitry Shostakovich, American Musicological Society 2008 Summer Excellence Award, UNC Greensboro 2008 Dobro Slovo, Russian Honor Society, UNC Greensboro 2007 Pi Kappa Lambda, The Ohio State University 2007 Peter A. Costanza Outstanding Dissertation Award, The Ohio State University 2005 Jack and Zoe Johnstone Graduate Award for Excellence in Musicology The Ohio State University 2005 Mary H. Osburn Memorial Graduate Fellowship Award, The Ohio State University 2004 Graduate Student Award in Musicology, The Ohio State University GRANTS & STIPENDS 2020– Provost’s Grant, Women’s Suffrage Centennial (“She Can We Can”), 2021 UNC Greensboro 2020 Kohler Grant for International Research (suspended because of COVID-19), UNC Greensboro 2019 Dean’s Initiative for Research (suspended because of COVID-19), UNC Greensboro.
    [Show full text]
  • National Festival Chamber Orchestra Saturday, June 6
    NATIONAL FESTIVAL CHAMBER ORCHESTRA SATURDAY, JUNE 6, 2015 . 8PM ELSIE & MARVIN DEKELBOUM CONCERT HALL PROGRAM Baljinder Sekhon Sun Dmitri Shostakovich/ Chamber Symphony, Op. 83a Rudolf Barshai Allegro Andantino Allegretto – Allegretto - intermission - Frank Martin Concerto for Seven Wind Instruments, Timpani, Percussion and String Orchestra Allegro Adagietto: Misterioso ed elegante Allegro vivace Wolfgang Amadeus Mozart Symphony No. 35 in D Major, K. 385 (“Haffner”) Allegro con spirito Andante Minuetto – Trio Finale: Presto 9 Sun array of instruments; that is, each The idea of using orchestral strings BALJINDER SEKHON player has a keyboard instrument (a to perform string quartets is hardly a marimba, a xylophone, a vibraphone), novelty. Gustav Mahler created string Born August 1, 1980, Fairfax, Virginia ‘skin’ (containing a drumhead), orchestra versions of Beethoven’s F Now living in Tampa, Florida wood and metal. In addition, the Minor Quartet (Op. 95) and Schubert’s three performers share a single large D Minor. Dimitri Mitropoulos gave This work for percussion trio was cymbal that is central to the staging. us a similar treatment of Beethoven’s composed in 2010–2011 under a At times the three percussion parts C-sharp Minor, Op. 131. Wilhelm commission from the Volta Trio, which are treated as one large instrument Furtwängler and Arturo Toscanini introduced it in a concert at Georgetown with three performers working toward performed and recorded individual University in Washington DC on a single musical character. Thus the movements from other Beethoven November 4, 2011. The score calls for orchestration and interaction alternate quartets. Toscanini also gave us a string- marimba, xylophone, vibraphone, large with each performer executing his/ orchestra version of Mendelssohn’s cymbal and “indeterminate skins, metals her own layers of sound to create a string octet — and Mendelssohn and woods.” Duration, 12 minutes.
    [Show full text]
  • 6.5 X 11 Double Line.P65
    Cambridge University Press 978-0-521-60315-7 - The Cambridge Companion to Shostakovich Edited by Pauline Fairclough and David Fanning Excerpt More information Introduction PAULINE FAIRCLOUGH AND DAVID FANNING The first English-language study to attempt a genre-focused overview of Shostakovich’s music was published over a quarter of a century ago. Christopher Norris’s Shostakovich: The Man and his Music1 was an early attempt to assess the major works (symphonies, operas, piano music and string quartets) by writers from a wide range of backgrounds: music critics, composers, performers, historians and literary theorists. Their retrospective of a composer who had died only seven years earlier captured a moment in time – British Shostakovich reception in the early 1980s – that is fascinating to look back upon. As with much intelligent critical writing about Shostakovich since the 1960s, the best chapters of this collection offered insights that are as valid and appealing now as they were in 1982, regardless of our enhanced knowledge of both Shostakovich and Soviet cultural history. Of particular interest is Robert Stradling’s careful bypassing of the assumption that was to dog later popular writing on Shostakovich: namely that he was composing either ‘for’ or ‘against’ the Soviet system. In the case of Shostakovich, as of Richard Strauss, he noted, the ‘romantic ideology of doomed, suicidal genius is a potent but very partial myth’.2 Though Stradling’s caution was typical for its time, it was soon to be swept away in a tide of startling critical
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Dimitri Shostakovich: a Catalogue of the Orchestral Music
    DIMITRI SHOSTAKOVICH: A CATALOGUE OF THE ORCHESTRAL MUSIC 1919: Scherzo in F sharp minor for orchestra, op.1: 5 minutes 1921-22: Theme with Variations in B major for orchestra, op.3: 15 minutes 1922: “Two Fables of Krilov” for mezzo-soprano, female chorus and chamber Orchestra, op.4: 7 minutes 1923-24: Scherzo in E flat for orchestra, op.7: 4 minutes 1924-25: Symphony No.1 in F minor, op.10: 32 minutes Prelude and Scherzo for string orchestra, op.11: 10 minutes 1927: Symphony No.2 “October” for chorus and orchestra, op.14: 21 minutes 1927-28: Suite from the Opera “The Nose” for orchestra, op. 15A 1928: “Tahiti-Trot” for orchestra, op. 16: 4 minutes 1928-29/76: Suite from “New Babylon” for orchestra, op. 18B: 40 minutes 1928-32: Six Romances on Words by Japanese poets for tenor and orchestra, op.21: 13 minutes 1929: Suite from “The Bedbug” for orchestra, op.19B Symphony No.3 in E flat major “The First of May” for chorus and orchestra, op.20: 32 minutes 1929-30: Ballet “The Age of Gold”, op.22: 134 minutes (and Ballet Suite, op. 22A: 23 minutes) 1930-31: Suite from “Alone” for orchestra, op. 26 B Ballet “The Bolt”, op.27: 145 minutes (and Ballet Suite, op.27A: 29 minutes) 1930-32: Suite from the Opera “Lady Macbeth of the Mtsensk District” for orchestra, op. 29A: 6 minutes 1931: Suite from “Golden Mountains” for orchestra, op.30A: 24 minutes Overture “The Green Company”, op. 30C (lost) 1931-32: Suite from “Hamlet” for small orchestra, op.
    [Show full text]
  • 7 Pm, Thursday, 3 June 2010 Jackson Hall, Mondavi Center
    7 pm, Thursday, 3 June 2010 Jackson Hall, Mondavi center UC Davis symphony orChestra Christian BalDini, mUsiC DireCtor anD Conductor Family ConCert 7 pm, thUrsDay, 3 JUne 2010 JaCkson hall, monDavi Center PROGRAM Oblivion Astor Piazzolla (1921–92) Kikimora Anatoly Liadov (1855–1914) Lament Ching-Yi Wang Winner, 2010 Composition Readings Sinfonia Concertante in E-flat Major Wolfgang Amadeus Mozart Presto (1756–91) Shawyon Malek-Salehi, violin Andy Tan, viola Winners, 2010 Concerto Competition Symphony No. 10 in E Minor Dmitri Shostakovich Finale: Andante – Allegro (1906–75) D. Kern Holoman, conductor Distinguished Professor of Music and Conductor Emeritus This concert is being professionally recorded for the university archive. Please keep distractions to a minimum. Cell phones, and other similar electronic devices should be turned off completely. UC DAVIS SYMPHONY orCHESTRA Christian BalDini, mUsiC DireCtor anD Conductor amanDa WU, manaGer lisa eleazarian, liBrarian Names appear in seating order. violin i viola Flute horn Cynthia Bates, Andy Tan, Susan Monticello, Rachel Howerton, concertmaster * principal * principal * principal * Yosef Farnsworth, Meredith Powell, Abby Green, Stephen Hudson concertmaster * principal * assistant principal * Adam Morales, Shawyon Malek-Salehi, Caitlin Murray Michelle Hwang principal assistant concertmaster * Melissa Lyans Chris Brown Bobby Olsen, Lucile Cain Ali Spurgeon co-principal Sharon Tsao * Pablo Frias oboe Maya Abramson* Andrew Benson Jaclyn Howerton, trumpet Raphael Moore * principal * Andrew
    [Show full text]