Ii Grand Band Show News from the Countries

Total Page:16

File Type:pdf, Size:1020Kb

Ii Grand Band Show News from the Countries English version of the Russian magazine №3 (5), 2018 II GRAND BAND SHOW NEWS FROM THE COUNTRIES №3 (5), 2018 FOUNDER AND PUBLISHER OF THE JOURNAL: Non-commercial partnership International Information Center "Orchestra" Chef-editor A.L. Dudin p. 26 Chairman of the board J. Csikota (Hungary) EDITORIAL COUNCIL: p. 36 V. Berezin A. Churgel V. Ivanov V. Nozhov V. Tsitsankin A. Gilyov V. Matveychuk A. Koroteev V. Ivanova (Belarus) I. Novichkova B. Turchinsky, (Israel) EDITING AND CORRECTURES V. Lavrov O. Davydova DESIGN & LAYOUT R. Pavlovsky SUPPORT OF THE SITE S. Kasmitsky p. 44 ADVERTISING DEPARTMENT Brand manager "Arsenal Music" A. Zhukov Electronic version MIZ-ORKESTR.RU e-mail: [email protected] tel. mob.8 (916) 307-11-91 Signed to print 14.05.2018 p. 55 Preface less and active work in the field of improvement tran- sylvanian wind band music to István Székely, Árpád Sándor, and to Andor Molnár, László Balázs. Our Association is not only active in the member’s countries. In July 2017 was held a traditional and pres- tigious event in Sárvár. The 7th Sár-vár Beer Express and 18th Wind Orchestra Music and Castle Festival was high-level competition, where the best wind bands of the country have contested for the prices of the jury. Hereby I would like to express my thankful congratu- lation to Attila Szélesi, who is the artistic leader of the competition, and to Tivadar Máhr deputy mayor for the organising. As the first half of the year was so active, we can say the same about the second half. Our movement has always considered of importance the assistance of the new orchestras and new festivals. Since the best way of the development is the recognition of new impulse, new wind bands and conductors, for us recovered rep- ertoire, so we can learn from each other and finally we are able to bring to effect our mission in the interest of wind music. In the beginning of September the I. Solin Brass Fest international wind music festival was held for first It is my pleasure to greet the honoured members of time with the assistance of our Associati-on in Solin, our Association and the music-friends with the newest Croatia. Thanks for the succesful work to conductor edition of our journal. The year of 2017 was very inten- and compositor Tonci Ciceric! sive and productive for our members. This is pleasing, In one of the most sparkling cultural capital of but highly responsible in the same time. The activity the world, in Moscow took place in the middle of of the Association and its partner wind bands have September the international music festival and fair expressed in many memorable and succesful inter-na- „Musikmesse.” The succesful international event were tional and national competitions, conferences, events visited by thousands of people. The wind music di- and festival. In the beginning of the year was in Prague rector of these festival was Professor Anatoly Dudin, in the Czech Republic an international, prospeous who is the most active member of the Central Eastern and traditional wind band competition, later in Split, European WASBE As-sociation. He has cooperated in Croatia took place a prestigous wind music competi- the organizing many events of our Association during tion. Hereby I am greetings to Václav Blahunek and the last year. For his tireless and succesful activity I ex- Miro Saje, and thank you for their successful work! press my thanks in the name of the whole Association! In 2017 the Begej Festival and Conference had The Central Eastern European WASBE Affiliate has been organised in Zrenjanijn again. It was the sixth strengthened in the last year, now we have 15 member time, when this high-standarted event took place in countries and our international relations have spread- Serbia. Our Association carries out in every year the ed significantly, that is the reason for our planned wind Begej Festival prominent in cooperation with the lo- band Festival – Conference, which will be take place cal organisers. In 2018 from 24 to 26 June will be from 17th to 21st 2018 in Makó, Hungary. I kindly in- held in Zrenjanin the international Begej Festival and vite everyone to this event! Competition. I express my thanks for the energetic To our work belongs much effort, humility, res-pons- organisers, to Branislav Gagic and Milosev Vladimir. ability and happiness, since under the auspices of our The results of the romanian part of the Assocoation Association more and more natio-nal and internation- were also meaningful. In the summer of 2017 has al events are organized, which events help to improve been organised the I. Wind Band Com-petition in the wind music movement of the region. Our festivals, Csíkszentsimon. Many transylvanian orchestra were competitions, master classes and lectures have be- participant in this competition, they were assessed by come a tradition and work very well. Our events are international jury. The next milestone of the develop- hallmarked by high-level quality and open-minded ment of transylvanain wind music is the I. Wind Band approach toward to the general public and audience. Competition in Corond, which event will be held from This quality and openness allows of the indispensable 12 to 16 April in 2018. I especially thank for the tire- circumstance, in which the members of the Cent-ral THE CHAIRMAN AND THE MEMBERS OF OUR ASSOCIATION Eastern European WASBE Association cooperate and develop in interest of the common goal: the improve- Dr. József Csikota chairman ment of the wind music. Let me wish with the above - Hungary expressed thoughts success ful and productive work to every member of our Association! Dear Colleagues and Friends! Prof. Anatoly Dudin - Russia I congratulate you on the 50th anniversary issue of the magazine “Orchestra”. For more than 10 years, your editorial board, headed by professor Anatoly Dudin, has been carrying out very important information work on the development of orchestral ensemble performance. We thank to the representatives and journalists from different regions of Russia and foreign countries. You get Branislav Gagić know the orchestras of Russia and other countries with - Serbia the history and contemporary activities of orchestral art. Each column of the magazine is aimed at highlighting the best achievements and problems of the orchestra-en- semble genre. The historical, methodical and scientific articles of the journal help for young orchestras to orient themselves in the modern environment, and develop their Miro Saje creativity. Historical excursions in the formation of cre- - Slovenia ative teams, in the creation of methodical and scientific schools, individual outstanding performers, portraits of contemporary masters, and, of course, the memory of compatriots and foreign well-known specialists give an opportunity to get more acquainted with the experience of our genre. The coverage of the festival-contest projects Dr. Vaclav Blahunek and their results reflects the actual status and contempo- - Czech Republic rary level of performance, and also helps what can be needed and what should be abandoned in future creativity and learning. All professional journals are developed at the expense of their subscribers and founders. Expand and involve in our orchestral family more participants, amateurs and professionals of orchestral-ensemble art. In the upcoming years we will have interesting joint István Székely creative festival-competitive and scientific-methodical - Romania projects in the countries of Central and Eastern Europe, in the Baltic countries, and in Asia. For the preparation of modern young orchestral performers and conductors, together with the famous Russian experts, professors of European universities and conductors, the highest international orchestra academy in Hungary is being Tonci Ciceric created, where an international symphonic-band and - Croatia various ensembles of wind and percussion instruments will be established. Dr. József CSIKOTA Chairman of the WASBE Eastern CentralEuropean Association, Doctor of Education, Dr. Miroslaw Kordowski laureate of international contests, - Poland Director of the Mako School of Orchest Message from the President Dario Sotelo team has the very important presence of our President Elect James Ripley, with whom we will working with projects for more than two year of a presidencies. We will be working together on the administra-tive issues in order to provide the Board structure and time to develop the WASBE artistic projects. We had presented five projects for the next years. They were conceived based on the WASBE Missions, ideas that can be found on the very beginning texts of the Association. Here they are: I - WASBE Composition Competition - WCC II - WASBE Composers of the Year - WCY III - WASBE Commissioning Project - WCP It is an honor for me to right this message as a IV - WASBE Seminars - WS President of so prestigious inter-national wind band V - WASBE World Concerts association and in particular to so important WASBE They are practical actions to promote the young Section, through it main publication the Journal of the composers and their composition (WCC), to pro-mote Central Eastern European WASBE. established composers (WCY) with perfor-mances The central objective of my Presidency is to install around the world, together with publish-ers, bring- a very intense communication with all of you, WASBE ing together composers, conductors and musicians. members. To constitute a double lane road propitiat- Through the Commissioning Project (WCP), to offer ing a constant exchange of ideas and music cultures our members a special and unique repertoire. With the through the proposed projects. WASBE Seminars (WS) to have an outreach action hap- Our actual Board is composed by young, very capa- pening at the prestigious schools of music and univer- ble professionals, committed to the artistic objectives sities, co-ordinated by Board Members, in cooperation of WASBE. Dr.
Recommended publications
  • The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin
    THE SYNTHESIS OF JAZZ AND CLASSICAL STYLES IN THREE PIANO WORKS OF NIKOLAI KAPUSTIN __________________________________________________ A monograph Submitted to the Temple University Graduate Board __________________________________________________________ in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS __________________________________________________________ by Tatiana Abramova August 2014 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Professor of Piano Harvey Wedeen, Professor of Piano Dr. Cynthia Folio, Professor of Music Studies Richard Oatts, External Member, Professor, Artistic Director of Jazz Studies ABSTRACT The Synthesis of Jazz and Classical Styles in Three Piano Works of Nikolai Kapustin Tatiana Abramova Doctor of Musical Arts Temple University, 2014 Doctoral Advisory Committee Chair: Dr. Charles Abramovic The music of the Russian-Ukrainian composer Nikolai Kapustin is a fascinating synthesis of jazz and classical idioms. Kapustin has explored many existing traditional classical forms in conjunction with jazz. Among his works are: 20 piano sonatas, Suite in the Old Style, Op.28, preludes, etudes, variations, and six piano concerti. The most significant work in this regard is a cycle of 24 Preludes and Fugues, Op. 82, which was completed in 1997. He has also written numerous works for different instrumental ensembles and for orchestra. Well-known artists, such as Steven Osborn and Marc-Andre Hamelin have made a great contribution by recording Kapustin's music with Hyperion, one of the major recording companies. Being a brilliant pianist himself, Nikolai Kapustin has also released numerous recordings of his own music. Nikolai Kapustin was born in 1937 in Ukraine. He started his musical career as a classical pianist. In 1961 he graduated from the Moscow Conservatory, studying with the legendary pedagogue, Professor of Moscow Conservatory Alexander Goldenweiser, one of the greatest founders of the Russian piano school.
    [Show full text]
  • Georgia, US Sign Agreements to Boost Economic Development
    facebook.com/ georgiatoday Issue no: 908/59 • DECEMBER 27 - 29, 2016 • PUBLISHED TWICE WEEKLY PRICE: GEL 2.50 In this week’s issue... Georgian Leaders Congratulate Local Jews on Hanukkah NEWS PAGE 5 Kleptocrats Attack Ukraine’s Reform-Minded Central Banker PAGE 6 Georgian Foreign Ministry Hosts Meeting on US-Georgia FOCUS Strategic Partnership ON SKI RESORTS An unprecedented example of Public-Private-Partnership is witnessed in the opening of the new Mitarbi Ski Resort PAGE 2 PAGE 7 Christmas Concert Culminates Georgia, US Sign Agreements to Boost Economic another Year of Successful Growth at Confl ict Divide Development PAGE 8 BY THEA MORRISON Welcome to Georgia Wine Campaign he United States Agency for Inter- Kicks Off for the national Development (USAID) is to allocate USD 22 million for Holiday Season Georgia’s economic development. Georgia’s Finance Minister, Dim- PAGE 9 Titry Kumsishvili, and Director of USAID’s Cau- casus Mission, Douglas Ball, signed three agree- ments to that effect on Thursday. Bryza: Russia Will Use the Changes were made to previously signed agree- ments increasing the amount of a pre-existing Defi nition of Terrorism to grant to the current USD 22 million fi gure. governance, and a “stable, integrated and healthy” tors, as well as more effectively managing nat- The Finance Ministry reports that the agree- society. ural resources and creating market-oriented Advance its Own Political ments cover a number of high-priority areas, The activities planned within the agreements jobs. Increasing the societal integration of per- Interests including inclusive and sustainable economic will be aimed at introducing business standards sons with disabilities and of IDPs has also been growth, democratic controls and accountable and increasing competitiveness in various sec- fi ngered as a focus.
    [Show full text]
  • Chicago Symphony Orchestra Tuesday Evening Radio Programs on Wfmt Extended Through June 2021
    FROM THE CSO’S ARCHIVES: THE FIRST 130 YEARS — CHICAGO SYMPHONY ORCHESTRA TUESDAY EVENING RADIO PROGRAMS ON WFMT EXTENDED THROUGH JUNE 2021 CHICAGO – March 25, 2021 – The Chicago Symphony Orchestra Association (CSOA) and WFMT (Chicago’s Classical Music Station) announce the extension of Chicago Symphony Orchestra (CSO) Tuesday evening radio broadcasts From the CSO’s Archives: The First 130 Years through June 2021. Prepared with support from the Rosenthal Archives of the Chicago Symphony Orchestra Association, the broadcast series is part of the Orchestra’s 130th season and focuses on its extensive discography, featuring Grammy Award-winning releases, as well as recordings highlighting virtually every era in CSO history. Programs in the series are broadcast weekly on Tuesday evenings from 8:00 p.m. to 10:00 p.m. (Central Time) and will be available to listeners on WFMT (98.7 FM) and streaming on wfmt.com and the WFMT app (wfmt.com/app). More information about CSOradio broadcasts, including the nationally syndicated series that airs weekly on Sundays on WFMT, is also available at cso.org/radio. Program highlights for the first six broadcasts in April and May 2021 are below. Details for the remainder of the broadcasts in this series will be posted on cso.org/radio. April 6, 2021: Benny Goodman in Nielsen and Weber In the 1960s, legendary clarinetist Benny Goodman performed with the Chicago Symphony Orchestra and recorded concertos by Nielsen and Weber. This program also includes overtures by Weber and Nielsen’s Second Symphony, and a jazzy encore from Goodman, known as the “King of Swing,” performing Fred Fisher’s, “Chicago (That Toddlin’ Town).” April 13, 2021: Celebrating Victor Aitay A member of the Chicago Symphony Orchestra for 50 seasons, Victor Aitay (1921-2012) attended the Franz Liszt Royal Academy in his native Hungary, where Béla Bartók, Zoltán Kodály and Leo Weiner were on faculty.
    [Show full text]
  • Tiff 2015 Lineup
    TIFF PRE-PRODUCTION SPACE MOWGLI directed by Alexey Fedorchenko MALYSH dramatic space fantasy production 2015–2016, Russia, 29th February Film Company producer synopsis Aleksey Fedorchenko, The basis of the film is the Strugatskiy brothers’ famous fantastical novel Space Mowgli, Dmitri Vorobyov which recounts the tragic crash of the spaceship Pilgrim, whose mission was to establish con- screenplay tact with extraterrestrial civilizations. While entering the orbit of a distant, uninhabitable Mikhail Maslennikov, planet, Pilgrim is unexpectedly attacked by a satellite. Both pilots on board – Alexander and based on the novel Maria-Luisa Semyonov – perish, but their newborn child (“the Kid”) miraculously survives. Space Mowgli No one on Earth knows about the tragedy, as Pilgrim’s captain, the Kid’s father, de- by Arkadi and Boris Strugatskiy stroyed the ship’s logbook and had cut all communication with humans in fear of a pos- (authors Stalker by Andrey Tarkovsky, sible invasion of a hostile civilization. Hard to Be a God by Alexey German) Seventeen years later, a large-scale expedition from Earth is conducted to prepare the uninhabitable planet for colonization. As the exploration party is about to complete its mission, they find out that they are not alone on the planet. The presence who tries to make contact with the exploration team is that very same Kid – the sole survivor of the Pilgrim catastrophe. It turns out that the Kid was saved and raised by a local species very much unlike human beings. These aliens raised the Kid into someone not quite human. They saved him not out of humane considerations, but to use him as a negotiator to dissuade outside civilizations from ever attempting to reach this planet.
    [Show full text]
  • Stephen Erdely
    Music at MIT Oral History Project Stephen Erdely Interviewed by Forrest Larson March 24, 1999 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by MIT Academic Media Services and 3Play Media. Cambridge, MA Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2013 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Education and professional background (00:14) ......................................... 1 George Szell—playing in the Cleveland Orchestra—doctorate degree from Case Western Reserve University—teaching at Toledo University—education in Hungary—World War II—beginnings of ethnomusicology as a field of study—American Anthropological Society—Alan Merriam—Japp Kunst—Music Folklore Studies—Erick M. von Hornbostel and Comparative Musicology—dissertation: Methods and Principles of Hungarian Ethnomusicology —Walter Hendl—Eastman School of Music 2. Coming to MIT (19:51) .................................................................................4 Music faculty: Rufus Hallmark, John Buttrick, David Epstein, John Harbison, Barry Vercoe—Klaus Liepmann—music and the arts as academic disciplines—musical climate at MIT—MIT President Jerome Wiesner—Jacob den Hartog—performing with MIT faculty—performing duo with pianist Beatrice Erdely—Marcus Thompson 3. Music programs at MIT (31:19) ....................................................................7 Philosophy on music at MIT—introduction of ear training course—musical
    [Show full text]
  • Students on the Cold War
    STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár STUDENTS ON THE COLD WAR New findings and interpretations Edited by Csaba Békés and Melinda Kalmár Cold War History Research Center – Corvinus University of Budapest Budapest, 2019 Szerkesztette: Dévényi Kinga Szerzők: Csicsmann László (Bevezető) Dévényi Kinga (Iszlám) Farkas Mária Ildikó (Japán) Lehoczki Bernadett (Latin-Amerika) Matura Tamás (Kína) Renner Zsuzsanna (India) Sz. Bíró Zoltán (Oroszország) Szombathy Zoltán (Afrika) Zsinka László (Nyugat-Európa, Észak-Amerika) Zsom Dóra (Judaizmus) Térképek: Varga Ágnes Tördelés:Editors Jeney László Csaba BÉKÉS and Melinda KALMÁR A kötetben szereplő domborzati térképek a Maps Assistant editors for Free (https://maps-for-free.com/) szabad Laura Chiara CECCHI, Jennifer LOY, Lucia PERESZLÉNYI,felhasználású Valeria PUGA, térképek, a többi térkép az ArcGIS for Tsotne TCHANTURIA, Márton TŐKE Desktop 10.0 szoftverben elérhető Shaded Relief alaptérkép felhasználásával készültek. Editorial assistance Dionysios DRAGONAS, Joelle ERICKSON, Laura GOUSHA, Illaria LA TORRE, James MARINO,Lektor: Evangeline MOORE, StefanRostoványi TELLE Zsolt (nyomtatott könyv) ChaptersISBN 4, 5, 978-963-503-690-5 6 were supported by the National Research, DevelopmentISBN 978-963-503-691-2 and Innovation Office – NKFIH (on-line) (#120183) Borítókép: Google Earth, 2018. ISBN 978-963-503-764-3 ISBN (e-book) 978-963-503-765-0 A képfelvételeket készítette: Bagi Judit, Csicsmann László, Dévényi Kinga, Farkas Mária Ildikó, Iványi L. Máté, Muhammad Hafiz, Pór Andrea, Renner Zsuzsanna, Sárközy Miklós, Szombathy Zoltán, Tóth Erika. A szabad felhasználású képek forrását lásd az egyes illusztrációknál. Külön köszönet az MTA Könyvtár Keleti Gyűjteményének This book was published according to thea cooperationkéziratos ol dalakagreement felhasználásának between engedélyezéséért.
    [Show full text]
  • Georg Solti (1)
    ___________________________________________________________________________ SWR2 Musikstunde 10.9.2012 Der legendäre Dirigentenjahrgang 1912 (1) Mit Rainer Damm Georg Solti (1) Kaum ein Dirigent von Weltrang kann auf ein vergleichbar bewegtes Leben zurückblicken wie der 1912 in Budapest als György Stern geborene Georg oder George Solti, den Königin Elisabeth 1971 seiner beispiellosen Verdienste um das britische Musikleben wegen mit dem Adelstitel Sir auszeichnete. Schon als dreizehnjähriger trat der mit dem absoluten Gehör gesegnete Sohn aus bescheidenen Verhältnissen in das Budapester Konservatorium ein. Dort prägten ihn Begegnungen mit Bela Bartok, Ernst von Dohnanyi, Leo Weiner und Zoltan Kodaly. Aber schon 1939 musste er wegen der einsetzenden Juden - Pogrome in die Schweiz fliehen. Den verwegensten Spät - Senkrechtstarter der neueren Interpretationsgeschichte beriefen die Amerikaner 1946 als Generalmusikdirektor der Bayerischen Staatsoper nach München, derweil die renommierten Pultheroen auf den Ausgang ihrer Entnazifizierungsprozesse warteten. Gleich, ob in München oder später in Frankfurt oder London: Immer wieder bescherte Solti seinem Publikum Sternstunden der Oper. Erst in reiferen Jahren entdeckte Solti seine Neigung für die Symphonik. Rund zwanzig Jahre lang blieb er künstlerischer Leiter des Chicago Symphony Orchestra. Aufbauend auf der Vorarbeit seines ungarischen Landsmannes Fritz Reiner machte er es zu einem der besten Orchester der Welt. _____________________________________________________________ CD Decca 410 116 - 2 track 1 ab 7‘32 (Horn) = 4‘10 _____________________________________________________________ Das Finale des 1. Satzes von Antonin Dvoraks Sinfonie Nr. 9 op. 95 Aus der Neuen Welt mit dem Chicago Symphony Orchestra unter der Leitung des damals 70jährigen Georg Solti, aufgenommen 1983. Das Orchester aus Chicago, im Branchenjargon The Machine genannt, entsprach in idealer Weise Soltis Wunsch nach unbedingter Präzision und schneidender Wucht des Klanges, insbesondere der Blechbläser.
    [Show full text]
  • LEONORE OVERTURE No. 3, OP. 72
    — PROGRAM — PROGRAM NOTES BEETHOVEN (1770–1827) struggled to produce an appropriate overture for Fidelio, and ultimately went through four versions. His first attempt, for the 1805 premiere, is believed to have been the overture now known LEONORE OVERTURE No. 3, OP. 72 ............. LUDWIG VAN BEETHOVEN as Leonore No. 2. Beethoven then focused this version for the per– (1770–1827) formances of 1806, creating Leonore No. 3. The latter is considered by many listeners as the greatest of the four overtures, but as an intensely dramatic, full-scale symphonic movement it had the defect of over– whelming the (rather light) initial scenes of the opera. Beethoven CONCERTO FOR CLARINET, VIOLA, AND ORCHESTRA accordingly experimented with cutting it back somewhat, for a planned IN E MINOR, OP. 88 .......................................................... MAX BRUCH 1807 performance in Prague; this is believed to be the version now called (1838–1920) Leonore No. 1. Finally, for the 1814 revival Beethoven began anew, and I. Andante con moto with fresh musical material wrote what we now know as the Fidelio II. Allegro moderato overture. III. Allegro molto MAX BRUCH (1838–1920) composed his Double Concerto for clarinet, Kent van Alstyne, clarinet viola, and orchestra in 1911, with his son, Max Felix, a fine player of the Sarah Bass, viola clarinet, particularly in mind. The concerto is unusual in beginning with a relatively slow movement, proceeding to a somewhat faster one, and ending with a vigorous Allegro molto. The most striking passages come at the very beginning, where first the viola and then the clarinet introduce — INTERMISSION — themselves, much as the cello and violin do in the Brahms Double Concerto.
    [Show full text]
  • The 12 Days of Christmas
    MOSCOW DECEMBER 2010 www.passportmagazine.ru THE 12 DAYS OF CHRISTMAS Why Am I Here? The Master of Malaya Bronnaya The 1991 Coup from atop the White House Sheffi eld Joins the Space Race Christmas Tipples The English word for фарт December_covers.indd 1 22.11.2010 14:16:04 December_covers.indd 2 22.11.2010 14:57:06 Contents 3. Editor’s Choice Alevitina Kalinina and Olga Slobodkina 8. Clubs Get ready Moscow, nightlife’s evolving! Max Karren- berg, DJs Eugene Noiz and Julia Belle, Imperia, Poch Friends, Rai Club, Imperia, Harleys and Lamborghinis, Miguel Francis 8 10. Theatre Review Play Actor & Uncle Vanya at the Tabakov Theatre. Don Juan at The Bolshoi Theatre, Our Man from Havanna at The Malaya Bronnaya Theatre, Por Una Cabeza and Salute to Sinatra at The Yauza Palace, Marina Lukanina 12. Art The 1940s-1950s, Olga Slobodkina Zinaida Serebriakova in Moscow, Ross Hunter 11 16. The Way it Was The Coup, John Harrison Inside the White House, John Harrison UK cosmonaut, Helen Sharman, Helen Womack Hungry Russians, Helen Womack 20. The Way It Is Why I Am Here part II, Franck Ebbecke 20 22. Real Estate Moscow’s Residential Architecture, Vladimir Kozlev Real Estate News, Vladimir Kozlev 26. Your Moscow The Master of Malaya Bronnaya, Katrina Marie 28. Wine & Dining New Year Wine Buyer Guide, Charles Borden 26 Christmas Tipples, Eleanora Scholes Tutto Bene (restaurant), Mandisa Baptiste Restaurant and Bar Guide Marseille (restaurant), Charles Borden Megu, Charles Borden 38. Out & About 42. My World Ordinary Heroes, Helen Womack 38 Dare to ask Deidre, Deidre Dare 44.
    [Show full text]
  • UU Spring2019 Complete.Pdf (13.MB)
    Volume 12 Issue 1 Spring 2019 A Journal of Georgetown University’s Tocqueville Forum for Political Understanding Editor-in-Chief Mark McNiskin Managing Editor Emily X. Ren Editor-at-Large Jacob Dyson Section Editors Christof Kuehne and Aidan Poling (The Forum) Benjamin Brazzel (The Archive) William Leo (The Sanctuary) Carrie Connelly and Savannah Willard (The Parlor) Mark McNiskin (The Clock Tower) Digital Editor Sachin Meier Copy Editor Nathalie Danso We are announcing our new website! The editorial staff of Utraque Unum is proud to present our new digital ver- sion of the journal, which can be found at utraqueunum.org. The website will feature digital-exclusive articles and interviews, letters from readers, a complete archive of the journal's collection, and the chance to engage other readers of the journal in conversation and scholarship. In addition, each new print edition will be available to read online. We encourage our readers to check out this exciting new chapter in our story. Please direct any reader responses or letters to [email protected]. Happy reading! Acknowledgements The publication of Utraque Unum was made possible by the generous support of Bill Mumma, the Collegiate Network, and the Intercollegiate Studies Insti- tute. Additional funds were provided by the Tocqueville Forum for Political Understanding. The mission of the Tocqueville Forum for Political Understanding is to en- courage a deeper engagement with the intellectual and cultural traditions that form the basis of the American federal democratic republic. The Tocqueville Fo- rum sponsors these activities solely through the contributions of generous sup- porters of its mission.
    [Show full text]
  • Tarkovsky's Musical Aesthetic in the Context of the Sonic Arts
    ESSAY The Music of Sound Tarkovsky’s Musical Aesthetic in the Context of the Sonic Arts VOL. 110 (DECEMBER 2020) BY FLORIAN HOLLERWEGER In his book Sculpting in Time, Andrei Tarkovsky distills the essence of his perspective on cinematic sound into the following statement:​1​ Above all, I feel that the sounds of this world are so beautiful in themselves that if only we could learn to listen to them properly, cinema would have no need of music at all. This aesthetic is directly reflected in Tarkovsky’s oeuvre, such as in the extremely sparse use of film music in the traditional sense in his films Solaris (1972), Stalker (1979), and The Sacrifice (1986). Without additional context, Tarkovsky’s statement could therefore be understood to stand in contradiction to this special issue’s premise that music forms “an intricate component” of Russian cinema that is “weaved into” the very fabric of its films. The following account of a conversation with Tarkovsky by his musical collaborator Eduard Artemyev seems to further support such an argument.​2​ He [Tarkovsky] said: “[…] I do not need an ordinary film music. I cannot stand it, and I do my utmost in order to escape it …” […] In short, he told me at length and eloquently how he didn’t need film music – all these overtures, main themes, lyric songs… “Only ambience, only organisation of sounds and noises […].” These words could be interpreted as a rejection of the use of music in film altogether. In contrast to such a reading, however, I will argue that Tarkovsky’s vision of an “organisation of sounds and noises” exhibits remarkable parallels to larger developments in musical aesthetics of his time.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Making
    UNIVERSITY OF CALIFORNIA Los Angeles Making Jazz Space: Clubs and Creative Practice in California, Chile, and Siberia A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnomusicology by Alex Warner Rodriguez 2018 © Copyright by Alex Warner Rodriguez 2018 ABSTRACT OF THE DISSERTATION Making Jazz Space: Clubs and Creative Practice in California, Chile, and Siberia by Alex Warner Rodriguez Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Steven J. Loza, Chair Drawing from anthropological fieldwork in three jazz clubs, this dissertation explores the global scale of contemporary jazz practice through an examination of the communities that sustain them in Los Angeles, California; Santiago, Chile; and Novosibirsk, Siberia. These spaces, which bear striking similarities to one another both in terms of architectural aesthetics and community practices despite the vast distance between them, are investigated as instantiations of jazz space informed by logics of jazz listening, and as sites of jazz practice—a process that I call jazz anthropology. It argues that to understand why jazz practices continue to manifest anywhere, we must understand what they mean to people elsewhere—that is, beyond the music’s geographical centers of production on the U.S. East Coast. By attending to these peripheries, we can hear the music as a manifestation of jazz consciousness, as tendrils of black radical modes of thinking transposed to far-flung geographies—even ones that very few black people inhabit. To situate these practices in a longer genealogical timespan, the dissertation also includes brief historical ii sketches of jazz practice in each of the three locations in 1917, 1959, and 1990, demonstrating the long local histories that inform the music in each locale.
    [Show full text]