Ivajla Kirova – Biography
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Fri, Aug 20, 2021
Fri, Aug 20, 2021 - 09 Listener Requests on The Classical Station 1 Start Description Performers Requested by Additional 09:01:10 Overture to Candide / Bernstein Bournemouth Symphony/Litton Carol in Fuquay-Varina 09:06:32 Grand Canyon Suite / Grofé London Philharmonic George in Raleigh Orchestra/Handley 09:40:50 Rider March in C, D. 866 No. 1 / Vienna Academy Cathy in Menominee Falls, Schubert Orchestra/Haselbock Wisc. 09:51:27 Romance for String Orchestra, Op. 11 / Northern Sinfonia/Griffiths Vincent in Greensboro, Finzi NC 10:01:30 Radetzky March / Strauss Sr. Johann Strauss Orchestra Timothy in Rocky Mount, Vienna/Francek NC 10:05:38 Nuvole bianche / Einaudi Ludovico Einaudi Rachel in Raleigh 10:13:03 Suite Bergamasque / Debussy Alexis Weissenberg Kenneth in Apex, NC also for Linda in Whitewater, Wisc. 10:29:23 Piano Quintet in E flat, Op. 44 / Robert Schumann Ensemble Vivian in Carrboro, NC Schumann 11:00:20 Suite for Flute and Strings / Respighi Fabbriciani/Abruzzo Adrienne in Raleigh Symphony/Paszkowski 11:21:15 Eclogue for Piano and Strings / Finzi Jones/English String Cyndi in Raleigh Orchestra/Boughton 11:32:28 The Girl with the Flaxen Hair from Samson Francois Greg in Ronkonkoma, NY in memory of his Preludes, Book I / Debussy beloved wife, Carol 11:35:53 Partita No. 2 in C minor, BWV 826 / Simone Dinnerstein Desiree in Coconut Creek, Bach Fla. 12:00:25 Concerto in B minor for 4 Violins and English Concert/Pinnock Rhowan in Garner, NC Cello, Op. 3 No. 10 / Vivaldi 12:10:50 Recuerdos de la Alhambra / Tarrega David Russell Lynn in Durham, NC 12:17:30 Finlandia, Op. -
The Pianist's Freedom and the Work's Constrictions
The Pianist’s Freedom and the Work’s Constrictions What Tempo Fluctuation in Bach and Chopin Indicate Alisa Yuko Bernhard A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) Sydney Conservatorium of Music University of Sydney 2017 Declaration I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Alisa Yuko Bernhard 10 November 2016 i Abstract The concept of the musical work has triggered much discussion: it has been defined and redefined, and at times attacked and deconstructed, by writers including Wolterstorff, Goodman, Levinson, Davies, Nattiez, Goehr, Abbate and Parmer, to name but a few. More often than not, it is treated either as an abstract sound-structure or, in contrast, as a culturally constructed concept, even a chimera. But what is a musical work to the performer, actively engaged in a “relationship” with the work he or she is interpreting? This question, not asked often enough in scholarship, can be used to yield fascinating insights into the ontological status of the work. My thesis therefore explores the relationship between the musical work and the performance, with a specific focus on classical pianists of the twentieth and twenty-first centuries. I make use of two methodological starting-points for considering the nature of the work. Firstly, I survey what pianists have said and written in interviews and biographies regarding their role as interpreters of works. Secondly, I analyse pianists’ use of tempo fluctuation at structurally significant moments in a selection of pieces by Johann Sebastian Bach and Frederic Chopin. -
Sat Oct 5 Program Notes
PROGRAM NOTES: SAT / OCT 5 By Bill Crane, Director of Audience Engagement, Portland Piano International “When it comes to translating human emotions, the piano is the most perfect instrument I know.” – Marc-André Hamelin in his recent interview for BBC Music Magazine Whether as listener, student, teacher, composer, or performer, one has so many ways to approach the seemingly endlessly varied sonorities of the piano, ripe for expressing myriad emotions. As well, the piano allows a single performer to create such abundance of music – with such satisfying results, when in good hands – that composers for it have stretched its capacities tirelessly, always exploring possibilities. We live in a time well after all constraints of harmonic and formal practice that characterized music before the “modern” period were thrown off. Much of the music after the end of the 19th century, indeed, was quite reflective of the tumultuous times in which the Western world lived with boundless conflict and astounding change. This is particularly true, of course, of the Russian piano tradition, from which we will hear stellar examples in these recitals, but not there only. French music comes to mind, of course, with its own special harmonic innovations and suave, evocative ways. You are about to encounter bazillions of notes, more than seems humanly possible. More important, though, you are in for sublime artistry. This swirling world of music and musical ideas borne of many profound influences, some directly “artistic” and some esoteric (spiritual matters, political intrigue, lovers’ longing and laments), some clear to understand and others distinctly not so. I would bet that a majority of the pieces found in these two programs will be new to you, as they were to me. -
Degaetano CONCERTO NO. 1 CHOPIN
RobertDeGAETANO CONCERTO DeGaetano NO. 1 CHOPIN CONCERTO NO. 1 Because of my lack of experience as a composer I didn’t realize The Saga of Piano Concerto No. 1 how much was involved in such an undertaking or what the costs would be. BY ROBERT DeGAETANO I quickly started writing away. The music came very quickly. My first piano concerto began many years ago. I heard a theme I felt like I was a conduit and it poured right through me. that I knew was mine. At the time I had just begun composing seriously and I was instantly aware that this theme was for a A performance date and rehearsal was arranged with Stephen major work, either a concerto or symphony. It was grand in Osmond, conductor of the Jackson Symphony and we were off design and had a monumental quality. This was not a melody and running. I mean literally running! I believe I had less than three to be used in a shorter work. I remember jotting it down and months from the date of the commission to the actual premier. storing it with my manuscript paper. Fortunately I had a little cabin in the northern Catskills of NY where I was able to concentrate freely. In 1986 I gave a concert in “ The music came New York and premiered After completing the piano part and a general sketch of the my first piano Sonata very quickly. I felt orchestration, I set forth on the orchestration. I also had to deal dedicated to my maternal with getting the work copied legibly from the original score. -
July-Dec 2020 Bibliography
Readers are encouraged to forward items which have thus far escaped listing to: Christine Worobec Distinguished Research Professor Emerita Department of History Northern Illinois University [email protected] Please note that this issue has a separate category for the "Ancient, Medieval, and Early Modern Periods." It follows the heading "General." All categories listed by Country or Region include items from the modern and contemporary periods (from approximately 1700 to the present). GENERAL Agapkina, Tatiana, and Andrei Toporkov. "The Structure and Genesis of One Type of Magic Spell against Children's Insomnia among Slavic Peoples." In: Folklore 80 (2020): 35-46. Anderson, Elinor. "Women, Power and Enlightenment in Eighteenth-Century Europe." In: Central Europe Yearbook 2 (2020): 3-18. Araz, Yahya, and Irfan Kokdaş. "In Between Market and Charity: Child Domestic Work and Changing Labor Relations in Nineteenth-Century Ottoman Istanbul." In: International Labor and Working Class History 97 (Spring 2020): 81-108. Bento, Regina F. "The Rose and the Cactus: The Lived and Unanswered Callings of Manya Sklodowska (Marie Curie) and Mileva Marić (Einstein)." In: Cultural Studies/Critical Methodologies 20, 6 (2020): 549-64. [About the Polish Marie Curie (1867-1934) and the Serbian Mileva Marić (1875-1948)] Bertogg, Ariane [et al.]. "Gender Discrimination in the Hiring of Skilled Professionals in Two Male-Dominated Occupational Fields: A Factorial Survey." In: Kölner Zeitschrift für Soziologie und Sozialpsychologie 72, supp. 1 (2020): 261-89. [Regarding Bulgaria, Greece, Norway, and Switzerland] Bucur, Maria, Krassimira Daskalova, and Sally R. Munt. "East European Feminisms." Special Issue of Feminist Encounters: A Journal of Critical Studies in Culture and Politics 4, 2 (2020). -
Download This PDF File
Colloquia Comparativa Litterarum, 2021 Book review: Bulgarian Literature as World Literature, Edited by Mihaela P. Harper and Dimitar Kambourov, New York: Bloomsbury Academic, 2020, iv + 283 pp. ISBN: HB: 978-1-5013-4810-5; ePDF: 978-1-5013-4812-9; eBook: 978-1-5013- 4811-2. [Българската литература като световна литература. Под редакцията на Михаела П. Харпър и Димитър Камбуров] Theo D’haen / Тео Д`хаен University of Leuven / KU Leuven Bulgarian Literature as World Literature is a welcome addition to the Bloomsbury series Literatures as World Literature under the general editorship of Thomas Beebee. The volume provides the general reader with a generous profile of a literature that remains little-known abroad. In fact, one of the avowed aims of the volume is to make Bulgarian literature more visible to the outside world. In a Foreword, Maria Torodova, professor of history at the University of Illinois at Urbana- Champaign, sketches a brief historical perspective of how Bulgaria has considered itself and how it has been considered by others, and how the materials in the volume to follow relate to these views. Her impression is that they illustrate what she sees as an attitude shared among scholars writing on matters Bulgarian, especially when it comes to the country’s history and culture, viz. that they “tread the fine line between defensiveness and push-back”. Todorova’s foreword is followed by an Introduction proper by the volume’s editors. Michaela Harper locates the origins of the volume in her sharing the idea of it with Georgi Gospodinov and Albena Hranova, and following up on it a few years later, spurred by her contribution to Crime Fiction as World Literature, another volume in the 112 Colloquia Comparativa Litterarum, 2021 series Literatures as World Literature. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Vesko Eschkenazy
VESKO ESCHKENAZY Violin virtuoso, Vesko Eschkenazy is 1st Concertmaster of the Royal Concertgebouw Orchestra; a position he has held since January 1, 2000. “Vesko Eschkenazy is a brilliant violinist” – remarks the “De Telegraaf” in November 2000, one of the largest dailies in the Kingdom of Netherlands, after his interpretation of the Violin Concerto #1 by Szymanovski with the Royal Concertgebouw Orchestra in Amsterdam. Eschkenazy has been its concertmaster since the beginning of the 1999/2000 season. Born in Bulgaria in 1970 into a family of musicians, still a child, Vesko appeared as an orchestra leader. At 11 years old he became concertmaster of the youth Philharmonic Orchestra of Prof. Vladi Simeonov. He is a graduate of the L. Pipkov National Music School in Sofia and of the P. Vladiguerov State Music Academy where he studied violin with Angelina Atanazzova and Prof. Petar Hristoskov. In 1990, Vesko Eschkenazy left Bulgaria for London and completed a two year Masters Degree for solo performers with Prof. Ifra Neaman at the Guildhall School of Music, and received a Solo Recital Diploma – 1992. He is a laureate of the International Violin Competitions “Wieniawski” , Beijing and Carl Flesch in London. He performs extensively in Europe, USA, South America, India, China and takes part in the festivals Midem in Cannes, Montpellier and Atlantic – France, the Music Festivals in Nantes and Rheims, the New Year Music Festival in Sofia, Varna Summer and Apolonia. Vesko Eschkenazy has performed as soloist with the Royal Concertgebouw Orchestra, London Philharmonic Orchestra, English Chamber Orchestra, Monte Carlo Philharmonic, Sofia Philharmonic Orchestra, Mexico City Symphony, the Netherlands Philharmonic Orchestra, Prague Symphony Orchestra, National Symphony Orchestra of Ireland, Bach Chamber Orchestra – Berlin to name a few. -
History of Modern Bulgarian Literature
The History ol , v:i IL Illlllf iM %.m:.:A Iiiil,;l|iBif| M283h UNIVERSITY OF FLORIDA LIBRARIES COLLEGE LIBRARY Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/historyofmodernbOOmann Modern Bulgarian Literature The History of Modern Bulgarian Literature by CLARENCE A. MANNING and ROMAN SMAL-STOCKI BOOKMAN ASSOCIATES :: New York Copyright © 1960 by Bookman Associates Library of Congress Catalog Card Number: 60-8549 MANUFACTURED IN THE UNITED STATES OF AMERICA BY UNITED PRINTING SERVICES, INC. NEW HAVEN, CONN. Foreword This outline of modern Bulgarian literature is the result of an exchange of memories of Bulgaria between the authors some years ago in New York. We both have visited Bulgaria many times, we have had many personal friends among its scholars and statesmen, and we feel a deep sympathy for the tragic plight of this long-suffering Slavic nation with its industrious and hard-working people. We both feel also that it is an injustice to Bulgaria and a loss to American Slavic scholarship that, in spite of the importance of Bulgaria for the Slavic world, so little attention is paid to the country's cultural contributions. This is the more deplorable for American influence in Bulgaria was great, even before World War I. Many Bulgarians were educated in Robert Col- lege in Constantinople and after World War I in the American College in Sofia, one of the institutions supported by the Near East Foundation. Many Bulgarian professors have visited the United States in happier times. So it seems unfair that Ameri- cans and American universities have ignored so completely the development of the Bulgarian genius and culture during the past century. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Thu, Jul 30, 2020 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 15:05 Handel Concerto Grosso in G minor, Guildhall String 01855 RCA 7907 078635790726 Op. 6 No. 6 Ensemble/Salter 00:17:3540:56 Dukas Symphony in C BBC 06394 Chandos 9225 09511592252 Philharmonic/Tortelier 01:00:01 28:03 Mozart Symphony No. 38 in D, K. 504 Dresden State 13266 Profil 14002 881488140026 “Prague” Orchestra/Haitink 01:29:0401:35 Walton Touch Her Soft Lips and Part London Concertante 07556 CMG 017 506005539007 from Henry V 0 01:31:39 28:13 Mendelssohn Symphony No. 4 in A, Op. 90 London 01044 DG 415 974 028941597427 "Italian" Symphony/Abbado 02:01:2202:29 Beach Honeysuckle, Op. 97 No. 5 Becky Billock 10038 MusesNine n/a 700261322070 02:04:5143:09 Sullivan Pineapple Poll, a ballet Royal Liverpool 08534 Naxos 8.570351 747313035175 Philharmonic/Lloyd-Jo nes 02:49:00 10:37 Bach Brandenburg Concerto No. 2 in Petri/Friedrich/Berlin 05362 BMG 57130 743215713029 F, BWV 1047 Baroque Soloists/Kussmaul 03:01:0710:02 Beethoven Piano Sonata No. 25 in G, Op. John O'Conor 05592 Telarc 80293 089408029325 79 "Sonatina" 03:12:0922:47 Telemann Suite in D for Trumpet and Burns/American 03453 Dorian 80132 751758013223 Strings Concerto Orchestra 03:35:5622:38 Kraus Symphony in C minor Cappella 09048 WDR 174 811691011745 Coloniensis/Linde 04:00:0402:57 Strauss, Josef Moulinet (The Little Mill), a Budapest Festival 02279 Harmonia 903016 314902504814 polka Orchestra/Fischer Mundi 1 04:04:0115:31 Debussy Children's Corner Alexis Weissenberg 00436 DG 415 510 028941551023 04:20:3238:54 Vierne Symphony in A minor, Op. -
The Politicization of Music During the Period of Totalitarian Rule in Bulgaria (1944 – 1989)
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serbian Academy of Science and Arts Digital Archive (DAIS) DOI https://doi.org/10.2298/MUZ1825179D UDC 78:316.75(497.2)"1944/1989" 78.071.1(497.2)"1944/1989" The Politicization of Music During the Period of Totalitarian Rule in Bulgaria (1944 – 1989) Stanimira Dermendzhieva1 Independent scholar, Corfu, Greece Received: 15 September 2018 Accepted: 1 November 2018 Original scientific paper Abstract: Since this is a phenomenon of recent times, the signifcance of the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) is still unexplored. Tis paper focuses on the interplay between the political regime, musical life in Bulgaria, and the status of Bulgarian composers. Many books, articles, conferences and PhDs have been presented recently in the feld of cultural studies, promoting a multidisciplinary approach in several felds. A new approach tothis dynamic period would clarify the overall development of Bulgarian musical culture in the twentieth century. Keywords: music, political aspects, Bulgaria, history of the twentieth century, Bulgarian composers Introduction This article focuses on the interplay between the political regime, musical life in Bulgaria and the status of Bulgarian composers between 1944 and 1989. My interest in the history and problems of Bulgarian composers and specifically in the politicization of music during the period of totalitarian rule in Bulgaria (1944–1989) stems from the early days of my musical career and my childhood. Music written by Bulgarian composers has significantly influenced me over the period of my formal education. -
Hello Melancholy
Hello Melancholy The cycle Hello Melancholy written and published in Capital weekly – www.capital.bg - was awarded the prize Writing for Central and Eastern Europe in 2005 in Vienna ( by the Austrian Press Agency and supported by Bank Austria Creditanstalt) Read more here http://www.apa.at/cee-award/melancholy.pdf In her article, Ivanova captured the complicated mood after the changes in Europe. No one who experienced the changes in Eastern Europe would read her lines without emotion, remarked guest of honor Milan Kucan, former President of Slovenia, praising the prizewinner’s impressive work. APA-news "Text voller Emotionen" Ehrengast Milan Kucan, ehemaliger slowenischer Staatspräsident, lobte den bei der Preisverleihung Mittwoch Abend in Wien vorgetragenen Beitrag ("Frau Bulgarin") der Journalistin als "Text voller Emotionen". Ivanova habe durch sehr persönliche Erzählungen die Stimmung nach der Wende in Europa eingefangen. Ihre Zeilen würden an niemandem, der zur Zeit der Wende in Osteuropa gelebt hat, emotionslos vorüber gehen, so Kucan. Ivanova habe auch spürbar gemacht, "dass heute noch immer Reste der Berliner Mauer übrig geblieben sind." Die Siegerin überzeugte die siebenköpfige internationale Jury mit einem Zyklus unter dem Titel "Guten Tag Melancholie". Der im Rahmen der Preisverleihung vom Schauspieler Fritz Friedl vorgetragene Text "Frau Bulgarin" erzählt von einer in Wien lebenden namenlosen Frau aus Bulgarien, die symbolisch für die Melancholie des Fremden aus dem Osten steht. APA-nachrichten Frau Bulgarin, Ivan Milev and Gustav Klimt 8 reportages, personal stories,photography January -March 2005 I was a Milena Jesenska fellow at the Vienna Institute for Humane Sciences(www.iwm.at). I wanted to collect some personal stories about the communist time, to talk with people, friends and scholars about their ideas, notions and stories about that.