Building Cultural Bridges: Benjamin Britten and Russia
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PROGRAM NOTES Witold Lutosławski Concerto for Orchestra
PROGRAM NOTES by Phillip Huscher Witold Lutosławski Born January 25, 1913, Warsaw, Poland. Died February 7, 1994, Warsaw, Poland. Concerto for Orchestra Lutosławski began this work in 1950 and completed it in 1954. The first performance was given on November 26, 1954, in Warsaw. The score calls for three flutes and two piccolos, three oboes and english horn, three clarinets and bass clarinet, three bassoons and contrabassoon, four horns, four trumpets, four trombones and tuba, timpani, snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, bells, celesta, two harps, piano, and strings. Performance time is approximately twenty-eight minutes. The Chicago Symphony Orchestra's first subscription concert performances of Lutosławski's Concerto for Orchestra were given at Orchestra Hall on February 6, 7, and 8, 1964, with Paul Kletzki conducting. Our most recent subscription concert performance was given November 7, 8, and 9, 2002, with Christoph von Dohnányi conducting. The Orchestra has performed this concerto at the Ravinia Festival only once, on June 28, 1970, with Seiji Ozawa conducting. For the record The Orchestra recorded Lutosławski's Concerto for Orchestra in 1970 under Seiji Ozawa for Angel, and in 1992 under Daniel Barenboim for Erato. To most musicians today, as to Witold Lutosławski in 1954, the title “concerto for orchestra” suggests Béla Bartók's landmark 1943 score of that name. Bartók's is the most celebrated, but it's neither the first nor the last work with this title. Paul Hindemith, Walter Piston, and Zoltán Kodály all wrote concertos for orchestra before Bartók, and Witold Lutosławski, Michael Tippett, Elliott Carter, and Shulamit Ran are among those who have done so after his famous example. -
Comparison and Contrast of Performance Practice for the Tuba
COMPARISON AND CONTRAST OF PERFORMANCE PRACTICE OF THE TUBA IN IGOR STRAVINSKY’S THE RITE OF SPRING, DMITRI SHOSTAKOVICH’S SYMPHONY NO. 5 IN D MAJOR, OP. 47, AND SERGEI PROKOFIEV’S SYMPHONY NO. 5 IN B FLAT MAJOR, OP. 100 Roy L. Couch, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Donald C. Little, Major Professor Eugene Migliaro Corporon, Minor Professor Keith Johnson, Committee Member Brian Bowman, Coordinator of Brass Instrument Studies Graham Phipps, Program Coordinator of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Couch, Roy L., Comparison and Contrast of Performance Practice for the Tuba in Igor Stravinsky’s The Rite of Spring, Dmitri Shostakovich’s Symphony No. 5 in D major, Op. 47, and Sergei Prokofiev’s Symphony No. 5 in B flat major, Op. 100, Doctor of Musical Arts (Performance), May 2006, 46 pp.,references, 63 titles. Performance practice is a term familiar to serious musicians. For the performer, this means assimilating and applying all the education and training that has been pursued in a course of study. Performance practice entails many aspects such as development of the craft of performing on the instrument, comprehensive knowledge of pertinent literature, score study and listening to recordings, study of instruments of the period, notation and articulation practices of the time, and issues of tempo and dynamics. The orchestral literature of Eastern Europe, especially Germany and Russia, from the mid-nineteenth century through the mid-twentieth century provides some of the most significant and musically challenging parts for the tuba. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Nikolaj Von Wassilko. Bukovinian Statesman and Diplomat
https://doi.org/10.4316/CC.2019.01.010 POLITICS AND INTERNATIONAL STUDIES NIKOLAJ VON WASSILKO. BUKOVINIAN STATESMAN AND DIPLOMAT Oleksandr DOBRZHANSKYI Yurii Fedkovych Chernivtsi National University (Ukraine) E-mail: [email protected] Abstract: The article is dedicated to the study of the political biography of Nikolaj von Wassilko, a well-known Bukovinian leader, one of the most controversial personages among Ukrainian politicians of Austria-Hungary at the end of the 19th – the beginning of the 20th century. It is worth mentioning that many scientists from various countries wrote about N. Wassilko, but separate studies about his life and political activities have not been written yet. Author paid considerable attention to the formation of N. Wassilko's political views, the evolution of his preferences from conservative Rusynism and Moscophilia philosophy to the populistic doctrine. Since the beginning of the 20th century, N. Wassilko became almost the sole leader of Ukrainians in Bukovina. The article presents the analysis of his activities in the Austrian Parliament, the Diet of Bukovina, public organizations, and his initiatives to resolve various regional issues. His activities in the years of World War I were equally rich. In particular, the article shows his diplomatic activities as the ambassador of the ZUNR (West Ukrainian People's Republic) in Vienna, the ambassador of the UPR (Ukrainian People's Republic) in Switzerland and other countries. At the end of the research, the author points out the remarkable path of N. Wassilko in the history of the Ukrainian movement in Bukovina in the early twentieth century, as one of the central figures of the Ukrainian diplomacy during 1918-1924. -
ESS9 Appendix A3 Political Parties Ed
APPENDIX A3 POLITICAL PARTIES, ESS9 - 2018 ed. 3.0 Austria 2 Belgium 4 Bulgaria 7 Croatia 8 Cyprus 10 Czechia 12 Denmark 14 Estonia 15 Finland 17 France 19 Germany 20 Hungary 21 Iceland 23 Ireland 25 Italy 26 Latvia 28 Lithuania 31 Montenegro 34 Netherlands 36 Norway 38 Poland 40 Portugal 44 Serbia 47 Slovakia 52 Slovenia 53 Spain 54 Sweden 57 Switzerland 58 United Kingdom 61 Version Notes, ESS9 Appendix A3 POLITICAL PARTIES ESS9 edition 3.0 (published 10.12.20): Changes from previous edition: Additional countries: Denmark, Iceland. ESS9 edition 2.0 (published 15.06.20): Changes from previous edition: Additional countries: Croatia, Latvia, Lithuania, Montenegro, Portugal, Slovakia, Spain, Sweden. Austria 1. Political parties Language used in data file: German Year of last election: 2017 Official party names, English 1. Sozialdemokratische Partei Österreichs (SPÖ) - Social Democratic Party of Austria - 26.9 % names/translation, and size in last 2. Österreichische Volkspartei (ÖVP) - Austrian People's Party - 31.5 % election: 3. Freiheitliche Partei Österreichs (FPÖ) - Freedom Party of Austria - 26.0 % 4. Liste Peter Pilz (PILZ) - PILZ - 4.4 % 5. Die Grünen – Die Grüne Alternative (Grüne) - The Greens – The Green Alternative - 3.8 % 6. Kommunistische Partei Österreichs (KPÖ) - Communist Party of Austria - 0.8 % 7. NEOS – Das Neue Österreich und Liberales Forum (NEOS) - NEOS – The New Austria and Liberal Forum - 5.3 % 8. G!LT - Verein zur Förderung der Offenen Demokratie (GILT) - My Vote Counts! - 1.0 % Description of political parties listed 1. The Social Democratic Party (Sozialdemokratische Partei Österreichs, or SPÖ) is a social above democratic/center-left political party that was founded in 1888 as the Social Democratic Worker's Party (Sozialdemokratische Arbeiterpartei, or SDAP), when Victor Adler managed to unite the various opposing factions. -
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. -
Soviet Censorship Policy from a Musician's Perspective
The View from an Open Window: Soviet Censorship Policy from a Musician’s Perspective By Danica Wong David Brodbeck, Ph.D. Departments of Music and European Studies Jayne Lewis, Ph.D. Department of English A Thesis Submitted in Partial Completion of the Certification Requirements for the Honors Program of the School of Humanities University of California, Irvine 24 May 2019 i Table of Contents Acknowledgments ii Abstract iii Introduction 1 The Music of Dmitri Shostakovich 9 Lady Macbeth of Mtsensk District 10 The Fifth Symphony 17 The Music of Sergei Prokofiev 23 Alexander Nevsky 24 Zdravitsa 30 Shostakovich, Prokofiev, and The Crisis of 1948 35 Vano Muradeli and The Great Fellowship 35 The Zhdanov Affair 38 Conclusion 41 Bibliography 44 ii Acknowledgements While this world has been marked across time by the silenced and the silencers, there have always been and continue to be the supporters who work to help others achieve their dreams and communicate what they believe to be vital in their own lives. I am fortunate enough have a background and live in a place where my voice can be heard without much opposition, but this thesis could not have been completed without the immeasurable support I received from a variety of individuals and groups. First, I must extend my utmost gratitude to my primary advisor, Dr. David Brodbeck. I did not think that I would be able to find a humanities faculty member so in tune with both history and music, but to my great surprise and delight, I found the perfect advisor for my project. -
THE WARP of the SERBIAN IDENTITY Anti-Westernism, Russophilia, Traditionalism
HELSINKI COMMITTEE FOR HUMAN RIGHTS IN SERBIA studies17 THE WARP OF THE SERBIAN IDENTITY anti-westernism, russophilia, traditionalism... BELGRADE, 2016 THE WARP OF THE SERBIAN IDENTITY Anti-westernism, russophilia, traditionalism… Edition: Studies No. 17 Publisher: Helsinki Committee for Human Rights in Serbia www.helsinki.org.rs For the publisher: Sonja Biserko Reviewed by: Prof. Dr. Dubravka Stojanović Prof. Dr. Momir Samardžić Dr Hrvoje Klasić Layout and design: Ivan Hrašovec Printed by: Grafiprof, Belgrade Circulation: 200 ISBN 978-86-7208-203-6 This publication is a part of the project “Serbian Identity in the 21st Century” implemented with the assistance from the Open Society Foundation – Serbia. The contents of this publication are the sole responsibility of the Helsinki Committee for Human Rights in Serbia, and do not necessarily reflect the views of the Open Society Foundation – Serbia. CONTENTS Publisher’s Note . 5 TRANSITION AND IDENTITIES JOVAN KOMŠIĆ Democratic Transition And Identities . 11 LATINKA PEROVIĆ Serbian-Russian Historical Analogies . 57 MILAN SUBOTIĆ, A Different Russia: From Serbia’s Perspective . 83 SRĐAN BARIŠIĆ The Role of the Serbian and Russian Orthodox Churches in Shaping Governmental Policies . 105 RUSSIA’S SOFT POWER DR. JELICA KURJAK “Soft Power” in the Service of Foreign Policy Strategy of the Russian Federation . 129 DR MILIVOJ BEŠLIN A “New” History For A New Identity . 139 SONJA BISERKO, SEŠKA STANOJLOVIĆ Russia’s Soft Power Expands . 157 SERBIA, EU, EAST DR BORIS VARGA Belgrade And Kiev Between Brussels And Moscow . 169 DIMITRIJE BOAROV More Politics Than Business . 215 PETAR POPOVIĆ Serbian-Russian Joint Military Exercise . 235 SONJA BISERKO Russia and NATO: A Test of Strength over Montenegro . -
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. -
Elizabeth Bishop, Ou La Lumière De L'ordinaire
French and British Female Intellectuals and the Soviet Union. The Journey to the USSR, 1929 – 1942 Angela Kershaw (Aston University) The question of why intellectuals between the wars were fascinated by the USSR has been extensively debated by intellectual historians of both France and Britain. According to Neal Wood, “the ‘ultimate explanation’ of the appeal of communism is forever concealed from rational inquiry in the minds and hearts of many diverse individuals” (9), but rational inquiry can reveal a collective, cultural fascination through analysis of individual textual residues. Paul Hollander argues that pro-Soviet enthusiasm amongst Western intellectuals in the 1930s had its roots not in knowledge about the Soviet Union but in Western intellectuals’ changed – that is, more negative – attitudes towards Western Europe (103-104). Disenchanted with their own society, they were predisposed to find the Soviet regime to their liking and, furthermore, were fearful that if they returned with negative reports they would be labelled reactionaries (104, 109-110). Such “negative” fascination was doubled in both France and Britain by a more longstanding and primarily cultural “Russophilia”, which predated the 1917 revolution and had rather more to do with the faith, grandeur and resignation of the “Russian soul” supposedly depicted by Dostoievsky and Chekov than with the political realities of either Tsarist or Soviet Russia (see Northedge & Wells, Britain and Soviet Communism, 137-157 and Schor, L’Opinion française et les étrangers, 152-161). In France, Russophilia became complicated by the close relationship between the “mode russe” and the community of expatriate anti-Soviet Russian dissident intellectuals resident in Paris after 1917, which made a clear distinction between “authentic” Russian culture in exile and the Soviet “perversion” of Russian traditions (see Livak, How it Was Done in Paris). -
Dmitri Shostakovich's Viola Sonata
CG1009 Degree Project, Bachelor, Classical Music, 15 credits 2020 Degree of bachelor in music Department of classical music Handledare: Peter Berlind Carlson Examinator: David Thyrén Arttu Nummela Dmitri Shostakovich’s Viola Sonata History and analysis Abstract In this thesis I’m writing about Dmitri Shostakovich’s only Viola Sonata. I’ve read about Shostakovich life and analysed the sonata. Shostakovich’s Sonata is one of the first pieces from the composer that I have listened to and gotten familiar with. It’s one of the most played viola sonatas and a one of a kind in Russian modern music. The purpose is to dig deep into the music and to understand it. Questions like “why am I playing this like this?” or “how should I do this?” regarding the interpretation of the music is the core of this study. The research is also trying to be of help to get an image of viola music overall and what is the place of Shostakovich’s Viola Sonata in this world. How the piece was reacting to the world around it and how it was affected by the history of viola music and what is its position in the future. Keywords: Dmitri Shostakovich, viola sonata, viola, music history ii iii Table of Contents 1 Introduction ........................................................................................................................ 1 1.1 Aim ............................................................................................................................. 1 1.2 Method ...................................................................................................................... -
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.