DOCSLIB.ORG

Mariinsky at BAM Opens with a Contemporary Opera Rarity—The Enchanted Wanderer, Jan 14

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mariinsky at BAM Opens with a Contemporary Opera Rarity—The Enchanted Wanderer, Jan 14 Mariinsky at BAM opens with a contemporary opera rarity—The Enchanted Wanderer, Jan 14 Rodion Shchedrin’s mystic opera comes to New York in its first full staging Bloomberg Philanthropies is the 2014—2015 Season Sponsor BAM and the Mariinsky present The Enchanted Wanderer By Rodion Shchedrin Directed by Alexei Stepanyuk Mariinsky Opera Musical direction by Valery Gergiev Conducted by Valery Gergiev Libretto by the composer after the novel by Nikolai Leskov, The Enchanted Wanderer Set design by Alexander Orlov Costume design by Irina Cherednikova Lighting design by Yevgeny Ganzburg Choreography by Dmitry Korneyev Cast: Oleg Sychov (Ivan Severyanovich Flyagin, Storyteller) Andrei Popov (Flogged monk, Prince, Magnetiser, Old man in the woods, Storyteller) Kristina Kapustinskaya (Grusha the Gypsy, Storyteller) In Russian with English titles BAM Howard Gilman Opera House (30 Lafayette Ave) Jan 14 at 7:30pm Tickets start at $45 Brooklyn, Dec 8, 2014—Rodion Shchedrin’s The Enchanted Wanderer—in a fully staged US production premiere—ushers in the momentous, two-week BAM residency of the Mariinsky Theatre of St. Petersburg, led by Artistic Director Valery Gergiev, with its world- renowned opera, ballet, and orchestra on one stage in Brooklyn. The opera, a commission of the New York Philharmonic, has not been performed in New York since its world premiere in 2002. In The Enchanted Wanderer, Ivan Severyanovich Flyagin, the eponymous wanderer and a repentant monk, recounts his youthful misadventures and entanglement in the torrid love affair of the Prince and the beautiful Gypsy girl Grusha. Rodion Shchedrin wrote the libretto based on a novel by Nikolai Leskov (whose story was also the source of Shostakovich’s Lady Macbeth of Mtsensk). The music, which contains elements of Russian Orthodox choral music, gypsy songs, and traditional Slavic instruments (church bells, balalaika and gusli—a Russian zither), avoids operatic conventions. Solo voices weave in and out of the chorus, punctuated by three orchestra interludes and a postlude. The New York Philharmonic gave the opera world premiere in 2002 in a concert version conducted by the late Lorin Maazel. This full production was premiered at the Mariinsky Theatre in 2008. Director Alexei Stepanyuk fills the stage with reeds through which soloists and chorus, wearing traditional Russian costumes, move as though in a trance. About the Artists The son of a music theorist and writer, Rodion Shchedrin studied piano with Yakov Fliyer and composition with Yuri Shaporin at the Moscow Conservatory. Not long after his graduation, Shchedrin wrote what has become one of his best-known works, the ballet Konek-gorbunok (“The Little Humpbacked Horse”,1956), which quickly became a staple of the Bolshoi Ballet. In the mid-60s, Shchedrin started to incorporate modern sounds and techniques like tone-rows and aleatorics (chance elements) into works like his Symphony No. 2 (1962—65) and the Piano Concerto No. 2 (1966). Since then, Shchedrin has exhibited an eclectic style. Elements of the avant-garde, neoclassicism, folk, jazz, and pop music all have played roles in his compositions, which he has called "post-avant-garde." Also a virtuosic pianist, he played the solo part in the premieres of the first three of his six piano concertos. Artistic and General Director of the Mariinsky Theatre, Valery Gergiev is one of the leading figures in world culture. In 1988, he was appointed principal conductor of the Mariinsky Theatre, and in 1996 he became its artistic and general director. Since Gergiev became artistic director, the theater’s opera and ballet repertoire has expanded significantly. Today, it includes an incredibly broad range of operas by Mozart, Verdi, Wagner, Puccini, Mussorgsky, and Tchaikovsky in addition to 20th-century European classics such as operas by Leoš Janáček, Richard Strauss, Dmitri Shostakovich, Sergei Prokofiev, Benjamin Britten, and Shchedrin. Alexei Stepanyuk studied at the Leningrad State Rimsky-Korsakov Conservatoire and for seven years was principal director at the Chelyabinsk Academic Glinka Theatre of Opera and Ballet. Stepanyuk’s debut at the Mariinsky Theatre was the 1993 production of Rimsky- Korsakov’s Sadko, which has enjoyed great success and has toured widely. To this day, he has staged more than 70 opera productions in and outside Russia. He was named “Director of the Year” by the newspaper Music Review and the Russian Union of Theatre Workers in 2002. Oleg Sychov (bass) was a soloist at the National Philharmonic of Ukraine and the National Opera of Ukraine before he made his Mariinsky debut in 2011. His repertoire includes Nikitich and Bailiff (Boris Godunov), Skula (Prince Igor), Baron Wurmerhelm (The Gambler), General Bennigsen, Tikhon Shcherbaty (War and Peace), Apostle Paul (The Mystery of the Apostle Paul), Mazetto (Don Giovanni), Don Basilio (Il barbiere di Siviglia), Ramfis (Aida), Banco (Macbeth), Sparafucile (Rigoletto), and Verdi’s Requiem, among others. Tenor Andrei Popov was trained at the St. Petersburg State Rimsky-Korsakov Conservatoire and joined the Mariinsky Theatre in 2007. His roles include Grishka Kuterma (The Legend of the Invisible City of Kitezh), the Holy Fool (Boris Godunov), Bobyl Bakula (The Snow Maiden), Police Inspector (The Nose), Truffaldino (The Love for Three Oranges), Shabby Peasant (Lady Macbeth of Mtsensk), Dr. Caius (Falstaff), and Mime (Das Rheingold and Siegfried), among others. He performed the role of Police Inspector in The Nose at the Metropolitan Opera in 2013. Mezzo-soprano Kristina Kapustinskaya was a graduate of the National Tchaikovsky Music Academy of Ukraine and made her Mariinsky Theatre debut as Smeraldina in The Love for Three Oranges in 2007. She has also sung The Angel (The Demon), Polina and Milovzor (The Queen of Spades), Servant (Elektra), and Agrafena Alexandrovna (The Brothers Karamazov). In 2009 she received a Golden Mask award for her interpretation of Grusha in The Enchanted Wanderer. For press information, contact David Hsieh at [email protected] or 718.636.4129 x9. Credits Bloomberg Philanthropies is the 2014—2015 Season Sponsor. BAM engagement made possible by the Mariinsky Foundation of America. Leadership support for the Mariinsky Residency at BAM provided by Frederick Iseman. Support for the Signature Artists Series provided by the Howard Gilman Foundation. Leadership support for opera at BAM provided by Aashish & Dinyar Devitre and the Stavros Niarchos Foundation. Major support for the Mariinsky Residency at BAM provided by Renova. Endowment funding has been provided by The Andrew W. Mellon Foundation Fund for Opera and Music- Theater. Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust. BAM 2014 Winter/Spring Season supporters: Bank of America; Frances Bermanzohn & Alan Roseman; Booth Ferris Foundation; Brooklyn Community Foundation; Jessica E. Smith & Kevin R. Brine; William I. Campbell & Christine Wächter-Campbell; Betsy and Ed Cohen/Areté Foundation; Doris Duke Charitable Foundation; Estate of Richard B. Fisher; Judith R. & Alan H. Fishman; Ford Foundation; The Harkness Foundation for Dance; Stephanie & Timothy Ingrassia; Suzie & Bruce Kovner; Leon Levy Foundation; Diane & Adam E. Max; James I. McLaren & Lawton W. Fitt; MetLife Foundation; Donald R. Mullen Jr.; The Jerome Robbins Foundation, Inc.; Rolex SA; The Fan Fox & Leslie R. Samuels Foundation, Inc.; Target; Viacom; The Winston Foundation, Inc. Delta is the Official Airline of BAM. Pepsi is the official beverage of BAM. Santander is the BAM Marquee sponsor. Yamaha is the official piano for BAM. New York Marriott at the Brooklyn Bridge is the official hotel for BAM. Your tax dollars make BAM programs possible through funding from the City of New York Department of Cultural Affairs and the New York State Council on the Arts. The BAM facilities are owned by the City of New York and benefit from public funds provided through the New York City Department of Cultural Affairs with support from Mayor Bill de Blasio; the New York City Council including Council Speaker Melissa Mark-Viverito, Finance Committee Chair Julissa Ferreras, Cultural Affairs Committee Chair Jimmy Van Bramer, the Brooklyn Delegation of the Council, and Councilwoman Laurie Cumbo; and Brooklyn Borough President Eric Adams. BAM would like to thank the Brooklyn Delegations of the New York State Assembly, Joseph R. Lentol, Delegation Leader; and New York Senate, Senator Velmanette Montgomery, Delegation Leader. General Information BAM Howard Gilman Opera House, BAM Rose Cinemas, and BAMcafé are located in the Peter Jay Sharp building at 30 Lafayette Avenue (between St Felix Street and Ashland Place) in the Fort Greene neighborhood of Brooklyn. BAM Harvey Theater is located two blocks from the main building at 651 Fulton Street (between Ashland and Rockwell Places). Both locations house Greenlight Bookstore at BAM kiosks. BAM Fisher, located at 321 Ashland Place, is the newest addition to the BAM campus and houses the Judith and Alan Fishman Space and Rita K. Hillman Studio. BAM Rose Cinemas is Brooklyn’s only movie house dedicated to first-run independent and foreign film and repertory programming. BAMcafé, operated by Great Performances, offers a dinner menu prior to BAM Howard Gilman Opera House evening performances. BAMcafé also features an eclectic mix of live music for BAMcafé Live on Friday and Saturday nights with a bar menu available starting at 6pm. Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue – Barclays Center (2, 3, 4, 5 to Nevins St for Harvey Theater) D, N, R to Pacific Street; G to Fulton Street; C to Lafayette Avenue Train: Long Island Railroad to Atlantic Terminal – Barclays Center Bus: B25, B26, B41, B45, B52, B63, B67 all stop within three blocks of BAM Car: Commercial parking lots are located adjacent to BAM For ticket information, call BAM Ticket Services at 718.636.4100, or visit BAM.org. ### .
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Chapter IX: Ukrainian Musical Folklore Discography As a Preserving Factor
    Art Spiritual Dimensions of Ukrainian Diaspora: Collective Scientific Monograph DOI 10.36074/art-sdoud.2020.chapter-9 Nataliia Fedorniak UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL EXPERIENCE ABSTRACT: The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism). INTRODUCTION. The social and political situation in Ukraine (starting from the XIX century) caused four emigration waves of Ukrainians and led to the emergence of a new cultural phenomenon – the art and folklore of Ukrainian emigration, i.e. diaspora culture. Having found themselves in difficult ambiguous conditions, where there was no favorable living environment, Ukrainian musical folklore began to lose its original identity and underwent assimilation processes.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • Viktória Herencsár: Sound of Eurasia
    Viktória Herencsár: Sound of Eurasia There was organize a festival for the instrument family of zither and cimbalom in the capital of Buryatia, Ulan Ude from 13. to 18. September 2011. I was invited to this event to show the culture of the Hungarian cimbalom. The place of the festival was in the Academy of Arts in Ulan Ude. The lectures were in the class rooms and the concerts were in the concert hall of the Academy with 800 seats. The event began on 13th September with the meeting between the participants and the leaders of the organizing committee (cultural minister of the state, mayor of the town Ulan Ude, president of the Academy, etc.) The local artists gave concert on the opening ceremony, who played on their national instruments, yataga and yochin. The yataga is same instrument like the Chinese guchen or Japan koto. The yochin is same, like the Chinese yangqin. Citizens of the Buryatia consist of Buryatian, Chinese, Mongolian and Russian people. Their music is consisting of the music culture of these nations. We can hear music, which character is like the Chinese music (pentatonic, many inflections), melodies with effect of the Mongolian throat singing, Russian style melodies, etc. After the national program of the opening ceremony had concert of Wilfried Scharf from Austria, who played on the Stayer zither. He played Austrian folk melodies and classical music. The next day had the lecturer of the Russian, Estonian and Chinese professors about the gusli, kannel and guchen. In line with this program were the lecturer about the cimbalom and yangqin.
    [Show full text]
  • Silenced Voices Music of Soviet Russia
    Liliya Ugay and Agata Sorotokin present 11.03.17 100 years: Silenced Voices Music of Soviet Russia Program: Spiritual Concerto (1990) / Mov. II Nikolai Sidelnikov (1930-1992) Choir: Isobel Anthony, Ginger Dellenbaugh, Felice Doynev, Rachel Margaret Glodo, Eli Greenhoe, Dhyani Heath, Samuel Fargo Hollister, Timothy Lind, Philippa Ovenden, Zachary Page, Sara Viola Speller, Stephan Sveshnikov, Liliya Ugay, Miles Van Walter, William Watson, Kohl Alexander Weisman; conductor – Agata Sorotokin Evening Music (1973) Sergei Slonimsky (1932) Choir; Matt Keown, percussion Symphony No. 4 “Prayer” (1985/7) Galina Ustvolskaya (1919-2006) Ginger Dellenbauch, contralto; Matt Keown, tam-tam; Eric Rizzo, trumpet; Liliya Ugay, piano Chaconne (1962) Sofia Gubaidulina (1931) Agata Sorotokin, piano Intermission The Garden of Joys and Sorrows (1980) Sofia Gubaidulina (1931) Anna Ellsworth, harp Benjamin Morency, flute Alexandra Simpson, viola Sonata No. 6 (1988) Galina Ustvolskaya (1919-2006) Bells (1970) Sergei Slonimsky (1932) Liliya Ugay, piano Spiritual Concerto (1990) / Mov. IV Nikolai Sidelnikov (1930-1992) Choir The Composers Sofia Gubaidulina (Born in 1931 in Chistopol, Tatar Republic of the USSR) A leading member of the post-Shostakovich avant-garde movement in Russia, Sofia Gubaidulina is undoubtedly one of the most prominent composers of our time. After attending the Kazan Conservatory as a composer and pianist, Gubaidulina studied composition with Nikolai Peiko and Vissarion Shebalin at the Moscow Conservatory from 1954 to 1959. For the next fifteen years, she primarily supported herself as a film composer. In 1975, Gubaidulina became a founding member of the “Astreia” ensemble, a group that improvised on rare Russian, Caucasian, and Central Asian folk instruments. Her works often include techniques of sound production that carry listeners beyond the Western tradition.
    [Show full text]
  • Resilient Russian Women in the 1920S & 1930S
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Zea E-Books Zea E-Books 8-19-2015 Resilient Russian Women in the 1920s & 1930s Marcelline Hutton [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/zeabook Part of the European Languages and Societies Commons, Modern Art and Architecture Commons, Modern Literature Commons, Russian Literature Commons, Theatre and Performance Studies Commons, and the Women's Studies Commons Recommended Citation Hutton, Marcelline, "Resilient Russian Women in the 1920s & 1930s" (2015). Zea E-Books. Book 31. http://digitalcommons.unl.edu/zeabook/31 This Book is brought to you for free and open access by the Zea E-Books at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Zea E-Books by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Marcelline Hutton Resilient Russian Women in the 1920s & 1930s The stories of Russian educated women, peasants, prisoners, workers, wives, and mothers of the 1920s and 1930s show how work, marriage, family, religion, and even patriotism helped sustain them during harsh times. The Russian Revolution launched an economic and social upheaval that released peasant women from the control of traditional extended fam- ilies. It promised urban women equality and created opportunities for employment and higher education. Yet, the revolution did little to elim- inate Russian patriarchal culture, which continued to undermine wom- en’s social, sexual, economic, and political conditions. Divorce and abor- tion became more widespread, but birth control remained limited, and sexual liberation meant greater freedom for men than for women. The transformations that women needed to gain true equality were post- poned by the pov erty of the new state and the political agendas of lead- ers like Lenin, Trotsky, and Stalin.
    [Show full text]
  • Jouhikko: an Instrumental Evolution
    Eastern Kentucky University Encompass Honors Theses Student Scholarship Fall 2017 Jouhikko: An Instrumental Evolution Rachel E. Bracker Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Bracker, Rachel E., "Jouhikko: An Instrumental Evolution" (2017). Honors Theses. 454. https://encompass.eku.edu/honors_theses/454 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. Jouhikko: An Instrumental Evolution Submitted December 11, 2017 in Partial Fulfillment of the Requirements of HON 420 Eastern Kentucky University Fall 2017 By: Rachel Bracker Mentor Dr. Timothy Smit Department of History i Abstract Title: Jouhikko: An Instrumental Evolution Author: Rachel Bracker Mentor: Dr. Timothy Smit, Department of History The Jouhikko is a unique instrument from Finland that has been in use since around the twelfth century. The Jouhikko is a member of the bowed lyre instrumental family, and its origin is surrounded in mystery and uncertainty. However, references to the Jouhikko, and instruments which could be potentially related to it, can be found in the Finnish epic the Kalevala and in archaeological sites throughout the Scandinavian region. The first portion of this project investigates the evolution of the Jouhikko over time. This is done by examining the history of instruments with similar designs and/or construction, such as the Gusli and the Erhu, as well as looking into the evolution of the bow.
    [Show full text]
  • Solo, Ensemble) Nomination: 1. Solo A
    Program of International Contest of Young Musicians in nomination folk instruments: (Solo, Ensemble) Nomination: 1. Solo A) Domra, Balalaika, guitar and other folk finger-board instruments B) Bayan, accordion, concertina C) Gusli, zither, dulcimer and other folk instruments poly-chord. 2. Small Group (from 2 to 5 people) Attention: Nomination Ensembles also take part in the Instrumental Ensembles and Orchestra nomination. Age groups of participants and time of execution of the program. 1st age category (up to 9) Maximum time is up to 10 minutes. 2nd age category (10-12): Maximum time is up to 10 minutes. 3rd age category (13-15): Maximum time is up to 15 minutes. 4th age category (16-25) Maximum time is up to 15 minutes. Competitor’s performance times may be either shortened or stopped should the jury decide to by a majority vote. The age taken from the calculated average age of the participants. The calculated average age group is taken from the day of registration on the 15 May 2016. Program that performance must include: 1. One piece of the composer of one of the Slavic countries: Belarus, Ukraine, Czech Republic, Poland, Slovenia, Slovakia, Bulgaria, Serbia, Macedonia, Montenegro, Croatia, Bosnia and Herzegovina), welcomed the execution works of composers by Slovenia, Slovakia, Bulgaria, Serbia. 2. One piece of any choice; Conditions of Participation 1. Application to participate in the competition are accepted until 11 April 2016: Until this date participation must send to: [email protected]: a) application (standard form); b) for soloists and ensemble: copy of passport or birth-certificate; c) copy of notes of executed work of the Slavic composer; d) The Photo (JPEG) Admission fee: For soloists: 2300 rub.
    [Show full text]
  • Duev, R., Gusla
    This offprint is supplied for personal, non-commercial use only, originally published in Živa Antika 61(2011). Copyright © Society for Classical Studies "Živa Antika" Skopje TABLE DES MATIÈRES – СОДРЖИНА Наде Проева: Историскиот метод на проф. Пјер Карлие, микенолог и историчар на IV век ст.е. ................................. 5–14 Miroslav Vasilev: The military-political campaign of Sitalces against Perdiccas II and the Chalcidians (431–429 BC) ...................... 15–38 Krzysztof T. Witczak: On the Lydian word for ‘kite’ ........................... 39–42 Миодраг М. Тодоровиќ: И.-е. корен *g’hwel-‘она што е криво, совиено, косо’ и неговата застапеност во микенските лични имиња ......................................................................... 43–48 Ratko Duev: Gusla: the origin and beyond .......................................... 49–59 Elwira Kaczyńska: La localizzazione di Metimna cretese ................... 61–68 Vojislav Sarakinski: Notes on the Disarray in Thessaly ...................... 69–82 Sanja Pilipović, Vladimir Petrović: Deux monuments honorifique de Timacum Minus (IMS III/2 23 et 36) ....................................... 83–99 Michał Bzinkowski: Names of the abode of the dead in modern Greek folk songs ............................................................................... 101–115 Aleksandra Nikoloska: Pagan monotheism and the cult of Zeus Hypsistos ................................................................................ 117–127 Dragana Grbić: Augustan conquest of the Balkans in the light of triumphal
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • RODION SHCHEDRIN, PIANO Cassadó International Cello Competition in Florence
    NI 5831 Raphael Wallfi sch is one of the most celebrated cellists performing on the international stage. He was born in London into a family of distinguished musicians, his mother the cellist Anita Lasker-Wallfi sch and his father the pianist Peter Wallfi sch. At an early age, Raphael was greatly inspired by hearing Zara SHCHEDRIN Nelsova play. He was subsequently guided by a succession of fi ne teachers including Amaryllis Fleming, Amadeo Baldovino, Derek Simpson and the great RAPHAEL WALLFISCH, CELLO Russian cellist Gregor Piatigorsky. At the age of twenty-four he won the Gaspar RODION SHCHEDRIN, PIANO Cassadó International Cello Competition in Florence. Since then he has enjoyed a world-wide career playing. Teaching is one of Raphael Wallfi sch’s passions. He is in demand as a teacher all over the world holding the position of professor of cello in Switzerland at the Zürich Winterthur Konservatorium and in Germany at the Hochschule Mainz. Raphael has recorded nearly every major work for his instrument. His extensive discography on EMI, Chandos, Black Box, ASV, Naxos and Nimbus explores both the mainstream concerto repertoire and countless lesser-known works by Dohnanyi, Respighi, Barber, Hindemith and Martinu, as well as Richard Strauss, Dvorak, Kabalevsky and Khachaturian. He has recorded a wide range of British cello concertos, including works by MacMillan, Finzi, Delius, Bax, Bliss, Britten, Moeran, Walton and Kenneth Leighton. Britain’s leading composers have worked closely with Raphael Wallfi sch, many having written works especially for him. These include Sir Peter Maxwell Davies, Kenneth Leighton, James MacMillan, John Metcalf, Robert Simpson, Robert Saxton, Roger Smalley, Giles Swayne, John Tavener and Adrian Williams.
    [Show full text]
  • Kannel and Melodica by Eliska Svobodova
    Kannel and Melodica by Eliska Svobodova The kannel is Estonian version of an instrument known throughout the world as either zither or lap harp. But to refer to the Estonian origin it is recommended by the instrument masters to use the same name as in Estonian - kannel. It's history dates back over 2000 years. Kannel was formed in ancient times among Fenno-Baltic and Baltic tribes and was taken over by neighbouring Balto-Slavic tribes. Finns have kantele, Latvians - kokle, Lithuanians - kanklis, Slavs - gusli. The oldest string instrument in Estonia is a 6-7 string (earlier 5-string) kannel. My instrument has 6 strings - part of D major: d1 - e1 - f1 sharp - g1 - a1 - b1 Peculiar to the kannel is its long sound. One technique of playing is "picking" - allows a more melodic tune to be made. This technique is better for slower melodies. Another is "covered technique" - playing chords - one hand covers strings and other one plays chords - the range of the chords is limited in relation to number of strings. The kannel is a relatively soft instrument. It is far not so powerful as most of the classical instruments. http://www.kandlekoda.ee/history.htm The melodica or wind piano can be described as a free reed system with a mouthpiece, air chamber, and keyboard. It produces sound only exhaling into not inhaling. When playing more than one note at a time the instrument can sound very reminiscent of an accordion. It is possible to play it both hands - like a piano. There is also possible to create glissando and tremolo.
    [Show full text]