SOFAZ Annual Report 2017.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

SOFAZ Annual Report 2017.Pdf THE STATE OIL FUND OF THE REPUBLIC OF AZERBAIJAN ANNUAL REPORT 2017 THE STATE OIL FUND OF THE REPUBLIC OF AZERBAIJAN CONTENT ABBREVATIONS 1. ABOUT SOFAZ 4 ACG - Azeri-Chirag-Guneshli AiOC - AzerbAijAn internAtiOnAl OperAtinG COmpAny bOe - the bAnk Of enGlAnd 2. FACTS AT GLANCE 10 CbAr - the CentrAl bAnk Of the republiC Of AzerbAijAn eCb - eurOpeAn CentrAl bAnk fed - the federAl reserve 3. GOVERNANCE AND TRANSPARENCY 14 Gdp - GrOss dOmestiC prOduCt 3.1. MANAGEMENT OF SOFAZ 14 IFSWf - the internAtiOnAl Forum Of sOvereiGn WeAlth funds 3.2. TRANSPARENCY AND ACCOUNTABILITY 18 imf - the internAtiOnAl mOnetAry fund OPEC - OrGAnizAtiOn Of the petrOleum expOrtinG COuntries psA - prOduCtiOn shArinG AGreement 4. NATIONAL ECONOMY AND SOFAZ 21 sGC - sOuthern GAs COrridOr 4.1. MACROECONOMIC DEVELOPMENT 21 sOfAz - the stAte Oil fund Of the republiC Of AzerbAijAn 4.2. SOFAZ’S INCOMES 34 ssC Of AzerbAijAn - the STAte STATISTICAl COMMITTEE Of the 4.3. SOFAZ’S EXPENDITURES 39 REPUBLIC Of AzerbAijAn sWfi - the sOvereiGn WeAlth fund institute VaR - Value At risk 5. INVESTMENT 52 Wb - the WOrld bAnk 5.1. INVESTMENT STRATEGY 52 5.2. SOFAZ’S INVESTMENT PORTFOLIO 55 5.3. RETURNS ON SOFAZ’S INVESTMENT PORTFOLIO 74 5.4. RISK MANAGEMENT 78 6. EXECUTION OF THE 2017 SOFAZ BUDGET 83 7. CONSOLIDATED FINANCIAL STATEMENTS OF SOFAZ 88 APPENDIX 143 2 ANNUAL REPORT 2017 ANNUAL REPORT 2017 3 THE STATE OIL FUND ABOUT SOFAZ OF THE REPUBLIC OF AZERBAIJAN 1. ABOUT SOFAZ 1.29% 2.9% 4.6% 4.4% 5.3% 0.11% 2.35% 3.1% 3.1% 3.4% 3.5% 2% 6.5% 10.2% 12.2% 14.9% $0.5 bn. $2.5 bn. $22.8 bn. $34.1 bn. $37.1 bn. $33.6 bn. $33.1 bn. $35.8 bn. 100% 100% 99.89% 94.36% 87.5% 82.1% 80% 76.3% 2001 2007 2010 2012 2014 2015 2016 2017 The State Oil Fund of the Republic of Azerbaijan (SOFAZ) was budget system” of the republic of Azerbaijan, all sOfAz expen- established in accordance with the Decree of national leader ditures, except for operating expenditures, are incorporated into - First - SOFAZ was - SOFAZ - Assets - Changes - SOFAZ - Changes - Changes heydar Aliyev no. 240 on december 29, 1999. sOfAz is a an annual consolidated government budget presented to the investments awarded with UN commenced increased to over were made to commenced were made to were made to mechanism whereby energy-related earnings are accumulated parliament for approval. thus, indirectly, all citizens participate in were made. Public Service investing into USD 30 billion; investment investing in real investment investment Award. private equity policy: estate funds; policy: policy: and efficiently managed for future generations. the discussions of the budget of sOfAz. in compliance with this funds. - SOFAZ allocation to allocation to allocation to law, sOfAz can only execute the expenditures envisaged by its - Assets reached commenced equities increased - Funds were equities increased equities increased USD 2 billion. investing into from 5% to 10%, allocated into from 10% to 15%; from 15% to 25% sOfAz is structured as an extra-budgetary fund and functions budget. public equity, gold while allocation European stock allocation to real and allocation as the legal entity separate from the government or central and real estate; to fixed income markets through estate increased to fixed income bank. statute of sOfAz was approved in 2000. sOfAz’s investment and risk management policies are defined decreased from MSCI Europe from 5% to 10%; decreased from - Currency 85% to 80%; ex-UK index. and allocation 70% to 60%; by “investment Guidelines” and “investment policy” approved by composition of to fixed income the cornerstone of sOfAz’s philosophy is to ensure intergene- the president of the republic of Azerbaijan after the review of the fixed income - SOFAZ decreased from - Increased portfolio was started in-house 80% to 70%; the share of rational equality with respect to the benefit from the country’s supervisory board. According to its “investment policy”, sOfAz’s further diversified management of allocations to oil wealth. investment decisions should aim at maximizing the risk-adjusted to include public equity - Increased real estate and Australian Dollar, indexes. the share of equities. returns. According to the “investment Guidelines”, sOfAz makes Turkish Lira, and allocations in MISSION investment decisions independently. Russian Ruble. alternative asset classes. sOfAz’s mission is to transform depletable hydrocarbon re- in 2004, the president of the republic of Azerbaijan ilham serves into financial assets generating perpetual income for Aliyev approved “long-term strategy on the management of Fixed income Equities Gold Real estate current and future generations. oil and gas resources”. this document is considered as a crucial milestone for the long-term prosperity of the country, outlining OBJectives the development of the non-oil sector, human capital and note: the diagram illustrates year by year Aum and breakdowns of the investment portfolio by asset class. competitive economy. sOfAz is one of the central components sOfAz’s activity is directed to the achievement of the following in the implementation of the strategy. objectives: 1. supporting macroeconomic stability, participating in ensuring OUR Values: Respect, TEAMWORK, Trust AND worldwide. building strong working relationships, praising fiscal-tax discipline and decreasing dependence on oil revenues Transparency personal, achievements and encouraging teamwork contri- while stimulating development of the non-oil sector; bute to the establishment as well as further development of 2. funding major national scale projects to support socio-eco- since its very inception, sOfAz has built a strong cooperation with professional work environment. nomic progress; a number of financial organizations and institutions in Azerbaijan 3. ensuring intergenerational equality with regard to the and globally. sOfAz’s relations with its partners are based on the TRUST country’s oil wealth, accumulating and preserving oil revenues principles of mutual respect, trust, teamwork and transparency. for future generations. since its inception, sOfAz adheres to the highest standards of RESPECT ethical behavior and honesty to gain the trust of its partners. Legal FRAMEWORK sOfAz expects all of its business partners to operate on the sOfAz’s relations with international organizations, financial in- same principles of mutual trust and cooperation. sOfAz’s operations are guided by the Constitution and laws of stitutions, government bodies as well as its employees are based the republic of Azerbaijan, presidential decrees and resolutions, on mutual respect. deeply rooted into the fund’s philosophy, TRANSPARENCY sOfAz statute and regulations. trust and respect are the main factors in maintaining healthy relations in workplace and cooperating fruitfully with partners. sOfAz’s activities are based on the principles of transparen- sOfAz’s funding and withdrawal rules are clearly defined by cy and accountability. internationally praised as a credible the “Statute of the State Oil Fund of the Republic of Azerbaijan” TEAMWORK and transparent institution, sOfAz, in line with the foremost and the “Rules on the preparation and execution of the annual international practices, ensures the highest level of trans- program of revenues and expenditures (budget) of the state Oil it is through teamwork and joint efforts that sOfAz succeeds parency towards its counterparties, employees and external fund of the republic of Azerbaijan”. According to the law “On in all of its endeavors and strengthens its prestige locally and managers. 4 ANNUAL REPORT 2017 ANNUAL REPORT 2017 5 THE STATE OIL FUND ABOUT SOFAZ OF THE REPUBLIC OF AZERBAIJAN Mugham 6 ANNUAL REPORT 2017 ANNUAL REPORT 2017 7 MUGHAMTHE STATE OIL FUND ABOUTMUGHAM SOFAZ OF THE REPUBLIC OF AZERBAIJAN Jabbar Garyaghdioglu Musical GENRES, rooted IN ORAL TRADITIONS OF SOME NEAR AND MIDDLE East nations, come IN MANY NAMES IN DIFFERENT countries AND have peculiarities that differentiate THEM FROM ONE another. IN AZERBAIJAN, A ForM oF high ArT iN The orAL TrAdiTioNs oF proFessioNAL Music is cALLed “MughAM”. MughAMs Are jabbar ismayil oghlu Garyaghdioglu, an outstanding several phonograph records of mughams performed by the vocAL-iNsTruMental or iNsTruMental coMposiTioNs coNveyiNg deep eMoTioNs, proFouNd MeANiNg ANd singer, composer, and people’s Artist, was born in shusha khananda were released. lofty IDEAS. THE POETIC text OF MUGHAM’S vocal section IS composed OF ghazals WHICH ARE samples OF in 1861. jabbar Garyaghdioglu had interest to music from classical poetry. THE art OF MUGHAM, WHICH ADDRESSES philosophical AND psychological THEMES, expresses A MAN’s spiriTuAL wealth ANd reFLecTioNs oN LiFe. MughAM “dAsTgAh”s [ed.: dAsTgAh – his early ages, and grew up in a mugham and musical Garyaghdioglu played a considerable role in the formation A suiTe-Like piece], hAviNg survived To This very dAy by pAssiNg FroM persoN To persoN iN The course environment. of Azerbaijan’s opera. in fact, he was the first opera actor of OF THE nation’S long history, represents A product OF great efforts AND INTELLIGENCE OF AZERBAIJANI Azerbaijan. people AND reveals subtleties OF AZERBAIJANI MUSIC. during his life, jabbar Garyaghdioglu was being called a “living history”, encyclopedia of Azerbaijani folk music, and “prophet Garyagdioglu has nurtured a generation of renowned of Oriental music”. his mughams and folk songs are still khanandas who made great contributions to the art of among the greatest valuables of Azerbaijan’s music treasury. mugham. Among Garyaghdioglu’s students were mugham Azerbaijani music is based on national modes. According to the concepts developed by Uzeyir Hajibeyli, there are seven khananda’s (i.e. jabbar Garyaghdioglu) name was rightfully masters khan shushinski, seyid shushinski, bulbul, davud main (rast, shur, segah, shushtar, bayaty-shiraz, chahargah and humayun) and three collateral (shahnaz, sarendj, chahargah of the placed alongside a number of the world’s prominent musical safiyarov, zulfi Adigozalov, jahan talishinskaya, yaver kalanterli second type) modes. Currently, several mugham dastgahs based on seven main modes exist. “Rast”, “Shur”, “Segah”, “Chahargah”, artists.
Recommended publications
  • Western Culture in Eastern Lands;
    LfBRARY UNIVERSITY OF '"RNIA rt SAN >IEGO WESTERN CULTURE IN EASTERN LANDS WESTERN CULTURE IN EASTERN LANDS A COMPARISON OF THE METHODS ADOPTED BY ENGLAND AND RUSSIA IN THE MIDDLE EAST BY ARMINIUS VAMBERY, C.V.O. AUTHOR OF 'TRAVELS IN CENTRAL ASIA,' 'HISTORY OF BOKHARA,' ETC LONDON JOHN MURRAY, ALBEMARLE STREET, W. 1906 PREFACE DURING the many years that I have been engaged in studying the political and cultural questions of Inner Asia, it has often been laid to my charge that, in my criticism and appreciation of the two chief factors of our civilising influence in the East, I have not taken up a purely objective standpoint, and that, because of my partiality to the one, I have not been quite fair to the other. In Europe the prevailing idea is that the Russians, who in many respects are themselves still semi- Asiatic, are better fitted to undertake the civilisation of Asia, and will be more likely to bring about the transition from one sphere of action to another, than the English, the accomplished representatives of Western culture, who lack the necessary pliability, and whose stiff, proud bearing is supposed to be detrimental to the work of transformation. To prove the erroneousness of this view, and also to defend myself against the accusation of an unjustifiable partiality, these pages have been written. The comparative survey of the various innovations and reforms introduced by Russia and by England respectively, which I have endeavoured to give, will convince the reader that, in forming my conclusions, I have not been guided by personal motives, but that they are the outcome of a close investigation of what has actually been done by our two Culture-bearers.
    [Show full text]
  • Starten Met Jazz
    Themalijst Starten met Jazz Inleiding De Openbare Bibliotheek Kortrijk heeft een zeer uitgebreide jazzcollectie een paar duizend cd’s en een paar duizend vinylelpees) waardoor het voor een leek moeilijk is het bos door de bomen te zien. Ik zie voor de leek die iets meer wil weten ver jazzmuziek drie opties: 1. Je komt naar de Bib en grasduint wat in onze fantastische collectie. Grote kans dat je de ‘verkeerde’ cd’s meeneemt en voorgoed de jazz afzweert. Wat jammer zou zijn.. 2. Je neemt enkel verzamel-cd’s mee, bijvoorbeeld de Klara cd’s 3. Ok, dan heb je een staalkaart van het beste wat er ooit verschenen is en wil je misschien nog iets dieper gaan, meer exploreren, meer voelen wat échte jazz is.. Dan lees je 4. De beknopte lijst hieronder die chronologisch in enkele tientallen cd’s je wegwijs maakt in de verschillende subgenres van de jazz. Verwacht geen uitgebreide biografieën of discografieën maar een kort situeren van de belangrijkste stromingen met haar prominentste vertegenwoordigers. Dit is alleen maar een kennismaking, een aanzet. Maar dit document probeert een chronologisch overzicht te geven met de belangrijkste namen per sub genre. Als je van al deze artiesten één cd beluisterd hebt, kan je al wat meepraten voor jazz. Het is belangrijk op te merken dat al die sub genres soms zeer lang blijven en zelfs heropleven. Uiteraard overlappen ze elkaar in de tijd. En weinig muzikanten beperken zich echt tot één stijl. Jazzrecensent Mark Van den Hoof stelt dat na de jaren ‘60 niets nieuws meer gebeurde in de jazz en dat men zich beperkt tot het spelen in de stijlen van de vorige eeuw.
    [Show full text]
  • About the Artistic and Performing Features of Violin Works Gara Garayev About the Artistic and Performing Features of Violin Works of Gara Garayev
    CEYLA GANİOĞLU CEYLA ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV OF VIOLIN WORKS GARA AND PERFORMING FEATURES ARTISTIC THE ABOUT ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV Art Proficiency Thesis by CEYLA GANİOĞLU Department of Bilkent University 2019 Music İhsan Doğramacı Bilkent University Ankara May 2019 ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV The Graduate School of Economics and Social Sciences of İhsan Doğramacı Bilkent University by CEYLA GANİOĞLU In Partial Fulfillment of the Requirements for the Degree of ART PROFICIENCY IN MUSIC THE DEPARTMENT OF MUSIC İHSAN DOĞRAMACI BİLKENT UNIVERSITY ANKARA May 2019 ABSTRACT ABOUT THE ARTISTIC AND PERFORMING FEATURES OF VIOLIN WORKS OF GARA GARAYEV Ganioğlu, Ceyla Proficiency in Music, Department of Music Supervisor: Prof. Gürer Aykal May 2019 Garayev’s unique talents of music opened a new page in Azerbaijan’s music of 20th century. He adapted an untypical way of making music in which he was able to combine the traditional and the modern type. There are several substances that were brought in music of Azerbaijan by Garayev such as new themes, new images, and new means of composing. He achieved success not only in the areas of the national ballet, choral, and chamber music but also panned out well considering sonata for violin and piano and the violin concerto. These works represents main aspects and characteristics of Garayev’s music like implementation of national traditions while applying new methods of the 20th century, specifically neo-classicism and serial technique. In both sonata for violin and piano and the violin concerto, he reflects a perspective of synthesis of the two musical systems that are the Eastern and the Western.
    [Show full text]
  • A Sentinal Appeared Carrying One of Goering's Fine Leather Cases. 'I
    A sentinal appeared carrying one of Goering’s fine leather cases. ’I felt you should see this, sir.’ He opened it to reveal the big- gest collection of pills I had ever seen in my life. There were approximately twenty thousand pills in the case that Goering claimed were for a heart ailment. He would take them by the handfull, 20 in the morning and 20 at night. They were Paracodin a German syn- thetic drug used when morphine was not available. Also found among his clothes and personal effects were several ’tiny vials of Potas- sium Cyanide’. Examined each vial had enough cyanide to bring in- stant death to a dozen men. One of these vials, Goering managed to keep concealed for over a year until he committed "suicide with it only hours before he was to be hanged. "As well as his ’secret weapons’, Herr Goering’s valuables listed on the inventory and deposited under lock and key in the Gun room, were: 1 gold Luftwaffe badge; 1 gold Luftwaffe badge with diamonds; 1 deskwatch; 1 travelling clock by Movado; I large personal toilet case; 1 gold cigarette case, inlaid with amethyst and monogrammed by Prince Paul of Yugoslavia; 1 silver pill-box; 1 gold and velvet cigar-case; 1 square watch by Cartier, set with diamonds; 1 gold chain, gold pencil and cutter; 3 keys; 1 emerald ring; 1 diamond ring; 1 ruby ring; 1 semi-precious buttons; 1 small eagle with di- amond chips; 1 diamond A/C brooch; 4 cuff-links with semi-precious stones; 1 gold pin (evergreen twig); 1 pearl stick-pin; 1 gold stick- pin with swastika of diamond chips; 1 watch fob (platinum,
    [Show full text]
  • Download the PDF Business Outlook in Azerbaijan
    Business outlook in Azerbaijan Fourth Edition Deloitte CIS Research Centre 1H 2019 Brochure / report title goes here | Section title goes here Contents Introduction 03 Azerbaijan in figures Macroeconomic outlook (GDP, inflation, currency rates etc.) 04 Key industries of economy 12 Business outlook in Azerbaijan Research Centre analysis 22 About respondents 38 Contacts 39 02 Business outlook in Azerbaijan Introduction We are delighted to present the fourth edition of the Business Outlook in Azerbaijan, the Deloitte Research Centre’s macroeconomic journal. We focus on the current trends in the Azerbaijani economy and present our key research findings. Nuran Kerimov In March-April 2019, Deloitte conducted a survey Managing Partner of the top management of leading Azerbaijani Deloitte Azerbaijan companies. This allowed us to identify the overall economic environment, scrutinize how the non-oil sector is developing and examine foreign direct investment attraction. Complex analysis helped reveal hidden trends, and comparisons with Russia and Kazakhstan produced additional insights. The macroeconomic analysis in this edition features a in-depth study of Azerbaijan’s financial system. If you have any questions or suggestions regarding this research, please do not hesitate to contact us at: [email protected] 03 Business outlook in Azerbaijan Azerbaijan 01in figures 04 Business outlook in Azerbaijan Key macroeconomic indicators Gross domestic product (GDP) 129.8 117.4 GDP, AZN bln 103.8 (current prices) 89.7 84.6 79.8 Fact 70.3 60.4 EIU
    [Show full text]
  • Filologiya Məsələləri 1 2018.Pdf
    Filologiya məsələləri, № 1 2018 AZƏRBAYCAN MİLLİ ELMLƏR AKADEMİYASI M. FÜZULİ adına ƏLYAZMALAR İNSTİTUTU ÔÈËÎËÎÜÈÉÀ ÌßÑßËßËßÐÈ № 1 Топлу Азярбайъан Республикасы Президенти йанында Али Аттестасийа Комиссийасы тяряфиндян рясми гейдиййа- та алынмышдыр (Filologiya elmləri bюлмяси, №13). Азярбайъан Республикасы Ядлиййя Назирлийи Мятбу няшрлярин рейестриня дахил едилмишдир. Рейестр №3222. «Елм вя тящсил» Бакы – 2018 1 Filologiya məsələləri, № 1 2018 Ъурналын тясисчиляри: Азярбайжан Милли Елмляр Академийасы Ялйазмалар Институту вя «Елм вя тящсил» няшриййаты РЕДАКСИЙА ЩЕЙЯТИ: академик Иса Щябиббяйли, академик Васим Мяммядялийев, академик Теймур Кяримли, akademik Мющсцн Наьысойлу, akademik Низами Ъяфяров, АМЕА-нын мцхbир цзвц, ф.ü.е.д., проф. Ябцлфяз Гулийев, ф.ü.е.д., проф. Вилайят Ялийев, ф.ü.е.д., проф. Fəxrəddin Veysəlli, ф.ü.е.д., проф. Гязянфяр Казымов, ф.ü.е.д., проф. Рцфят Рцстямов, ф.ü.е.д., проф. Надир Мяммядли, ф.ü.е.д., проф. İsmayıl Məmmədli, ф.ü.е.д., проф. Мясуд Мащ- мудов, ф.ü.е.д., проф. Sevil Mehdiyeva, ф.ü.е.д., проф. Buludxan Xəlilov, ф.ü.е.д., проф. İlham Tahirov, ф.ü.е.д., prof. Əzizxan Tanrıverdiyev, ф.ü.е.д., проф. Мцбариз Йусифов, ф.ü.е.д., проф. Гязянфяр Пашайев, ф.ü.е.д., проф. Ябцлфяз Ряъябли, ф.ü.е.д., проф. Nizami Xudiyev, ф.ü.е.д., проф. Ъялил Наьыйев, ф.ü.е д., prof. Камиля Вялийева, ф.ü.е.д., prof. Азадя Мусайева, ф.ü.e.d. Paşa Kərimov, f.ü.f.d., dos. Нязакят Мяммядли Бурахылыша мясул: академик Теймур Кяримли Ряйчи: filologiya elmləri doktoru, professor Надир Мяммядли Филолоэийа мясяляляри. Бакы, 2018, № 1 ISSN 2224-9257 © ”Elm və təhsil” nəşriyyatı, 2018 www.
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • Bright Moments!
    Volume 46 • Issue 6 JUNE 2018 Journal of the New Jersey Jazz Society Dedicated to the performance, promotion and preservation of jazz. On stage at NJPAC performing Rahsaan Roland Kirk’s “Bright Moments” to close the tribute to Dorthaan Kirk on April 28 are (from left) Steve Turre, Mark Gross, musical director Don Braden, Antoinette Montague and Freddy Cole. Photo by Tony Graves. SNEAKING INTO SAN DIEGO BRIGHT MOMENTS! Pianist Donald Vega’s long, sometimes “Dorthaan At 80” Celebrating Newark’s “First harrowing journey from war-torn Nicaragua Lady of Jazz” Dorthaan Kirk with a star-filled gala to a spot in Ron Carter’s Quintet. Schaen concert and tribute at the New Jersey Performing Arts Fox’s interview begins on page 14. Center. Story and Tony Graves’s photos on page 24. New JerseyJazzSociety in this issue: New Jersey Jazz socIety Prez Sez . 2 Bulletin Board . 2 NJJS Calendar . 3 Jazz Trivia . 4 Prez sez Editor’s Pick/Deadlines/NJJS Info . 6 Change of Address/Support NJJS/ By Cydney Halpin President, NJJS Volunteer/Join NJJs . 43 Crow’s Nest . 44 t is with great delight that I announce Don commitment to jazz, and for keeping the music New/Renewed Members . 45 IBraden has joined the NJJS Board of Directors playing. (Information: www.arborsrecords.com) in an advisory capacity. As well as being a jazz storIes n The April Social at Shanghai Jazz showcased musician of the highest caliber on saxophone and Dorthaan at 80 . cover three generations of musicians, jazz guitar Big Band in the Sky . 8 flute, Don is an award-winning recording artist, virtuosi Gene Bertoncini and Roni Ben-Hur and Memories of Bob Dorough .
    [Show full text]
  • The State Oil Fund of the Republic of Azerbaijan Annual Report 2015 Content
    THE STATE OIL FUND OF THE REPUBLIC OF AZERBAIJAN ANNUAL REPORT 2015 CONTENT 1. ABOUT SOFAZ 2 2. FACTS AT GLANCE 6 3. GOVERNANCE AND TRANSPARENCY 8 3.1. SOFAZ management 8 3.2. Transparency and accountability 14 4. NATIONAL ECONOMY AND SOFAZ 18 4.1. Macroeconomic development 18 4.2. SOFAZ Revenues 25 4.3. SOFAZ Expenditures 30 5. INVESTMENT REPORT 38 5.1. Investment Strategy 38 5.2. SOFAZ Investment portfolio 43 5.3. SOFAZ Investment 65 portfolio performance 5.4. Risk management 69 6. 2015 SOFAZ BUDGET EXECUTION 72 7. CONSOLIDATED FINANCIAL 78 STATEMENTS OF SOFAZ APPENDIX 155 THE STATE OIL FUND OF THE REPUBLIC OF AZERBAIJAN 01 ABOUT SOFAZ Objectives Legal framework for operating expenditures, are incorporated as part of an annual consolidated government budget presented SOFAZ’s activity is directed SOFAZ’s operations are to the Parliament for approval. to the achievement of the guided by the Constitution Thus, indirectly, all citizens following objectives: and laws of the Republic participate in the discussions of Azerbaijan, Presidential of the budget of SOFAZ. In decrees and resolutions, The State Oil Fund of the 1. Supporting macroeconomic compliance with this law, SOFAZ Statute and the Fund’s stability, participating in SOFAZ can only execute the regulations. ensuring fiscal-tax discipline expenditures envisaged by its Republic of Azerbaijan (SOFAZ) and decreasing dependence budget. on oil revenues while SOFAZ’s funding and stimulating development of withdrawal rules are clearly SOFAZ’s investment and was established in accordance the non-oil sector; defined by the “Statute risk management policies of State Oil Fund of the are defined by “Investment Republic of Azerbaijan” and Guidelines” and “Investment 2.
    [Show full text]
  • Research and Tradition
    RESEARCH AND TRADITION Article received on February 23rd 2017 Article accepted on 10th March 2017 UDC: 78.071.1:929 Денисов E. B. Bogumila Mika * University of Silesia, Katowice, Poland Department of Fine Art and Music Institute of Music ‘BENEATH THE SHADOW OF POLITICS’. RECEPTION OF THE MUSIC OF EDISON DENISOV IN POLAND Abstract: The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov’s compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of Denisov’s music. Key words: Edison Denisov, reception, the Warsaw Autumn festival, critics, avant-garde, Russian music. * Author contact information: [email protected] 139 New Sound 49,1/2017 The political context in post-war Poland After the Second World War, all culture in Poland, including musical culture, was rigorously controlled by politics. The communist authorities imposed their doctrine of art, so-called ‘socialist realism’. The infamous conference in Lagôw Lubuski in Western Poland in 1949 officially condemned ‘musical formalism’ and proclaimed that only socialist realistic music could be written. Political pressure prohibited artistic contacts with the West, including coop­ eration with foreign artists. Polish culture gradually became isolated from West­ ern culture and art.
    [Show full text]
  • Genocide and Deportation of Azerbaijanis
    GENOCIDE AND DEPORTATION OF AZERBAIJANIS C O N T E N T S General information........................................................................................................................... 3 Resettlement of Armenians to Azerbaijani lands and its grave consequences ................................ 5 Resettlement of Armenians from Iran ........................................................................................ 5 Resettlement of Armenians from Turkey ................................................................................... 8 Massacre and deportation of Azerbaijanis at the beginning of the 20th century .......................... 10 The massacres of 1905-1906. ..................................................................................................... 10 General information ................................................................................................................... 10 Genocide of Moslem Turks through 1905-1906 in Karabagh ...................................................... 13 Genocide of 1918-1920 ............................................................................................................... 15 Genocide over Azerbaijani nation in March of 1918 ................................................................... 15 Massacres in Baku. March 1918................................................................................................. 20 Massacres in Erivan Province (1918-1920) ...............................................................................
    [Show full text]
  • SHUSHA, La Capitale Azerbaigiana Della Musica
    Musica Zemfi ra SAFAROVA Dott ore, critico d’arte, professore SHUSHA, La capitale Azerbaigiana della musica IN POCHE CITTÀ AL MONDO OGNI PIETRA, OGNI STRADA E TUTTA L’ AURA SI NUTRONO DI MUSICA: VIENNA IN AUSTRIA, NAPOLI IN ITALIA, SHUSHA IN AZERBAIGIAN. husha è uno degli angoli più belli del Garabagh, è il tempio Se la culla della musica azerbai- giana. Come diceva l’illustre poeta azer- baigiano Samed Vurgun “quasi tutti i famosi cantanti e musicisti dell’Azer- baigian sono nati a Shusha. Non a caso Shusha è defi nita la culla della musica e della poesia”. La città è stata giustamente defi - nita ”il conservatorio del Caucaso”. Il famoso studioso russo di musica orientale V. Vinogradov, già nel 1938 nel suo libro “Uzeyir Hajibeyov e la musica Azerbaigiana” scriveva a 10 Kechachi oglu Muhammed con il suo gruppo www.irs-az.com Heritage_IT_5_2012_last.indd 10 12/14/12 9:29 AM proposito di Shusha: “Qui c’è tanta popolari si basano sui suoi versi. Nelle riunioni, oltre ad eseguire musica, qui più che in qualsiasi altro La poesia di Vagif ha attirato musica, si tenevano dibattiti e discus- distretto dell’Azerbaigian si possono anche gli interpreti di mugam. sioni sui problemi relativi alla cre- sentire tante canzoni popolari, danze, Nell’eseguire il mugam da un lato azione artistica e il tema centrale cantanti, strumentisti. Sin dai tempi è necessario rispettare tutti i canoni era rappresentato dall’arte esecu- antichi Shusha era famosa come cen- di uno svolgimento ben intonato, le toria dei mugam. La poetessa e pit- tro musicale ed era celebre in tutta la regole di drammaturgia e di forma- trice di talento Khurshidbanu Nata- Transcaucasia come fucina inesauribile zione, dall’altro è necessario che ci sia van è stata la fondatrice del famoso di talenti musicali popolari.
    [Show full text]