The Ukrainian Weekly 1984, No.52

Total Page:16

File Type:pdf, Size:1020Kb

The Ukrainian Weekly 1984, No.52 www.ukrweekly.com 3 Ht Pu^lished ЬУ the Ukrainian National Association Inc., a fraternal non-profR" association) Ukrainian Weekl Vol. Lll No. 52 THE UKRAINIAN WEEKLY SUNDAY, DECEMBER 23, 1984 25 cents CHRIST IS BORN - LET US GLORIFY HIM GssetssaesaG^^ Reflections on President's report profound mystery neglects Ukrainians WASHINGTON - A recent presi­ The Christmas message of the dential report on compliance with the Ukrainian Catholic hierarchy in the 1975 Helsinki Accords on human rights United States of A merica. and security in Europe, which includes a section on the Soviet Union, contains Very Reverend and Reverend Fathers, virtually no references to the rights Members of our Religious Commu­ situation in Ukraine and only a cursory nities, Beloved Faithful in Christ! mention of Ukrainian politic;.! pri­ soners, by far the largest group. Christ is Born! Let us glorify Him! The document, officially titled the With the holy Christmas season 17th Semiannual Report by the Presi­ upon us, let us send our thoughts to dent to the Commission on Security and distant Bethlehem! What awesome Cooperation in Europe, also fails to mystery penetrated that night and detail the plight of the Ukrainian permeated the City of David nearly Helsinki Group, the largest of the five 2,000 years agorlt truly was a "Holy citizens' groups set up to monitor Soviet Night" and a "Silent Night." It was compliance with the accords, which the night foretold by the prophets, were signed by 35 countries. Most anticipated by the patriarchs and just members of the group are serving long people throughout the Old Testa­ terms of imprisonment, a fact ommited ment. This night would forever be from the report, which also did not blessed by all those who would dwell identify individual members of the in that heavenly Jerusalem, for earth group except lor Yuriy Lytvyn and and time would be one with heaven Oleksiy Tykhy, both of whom died this and eternity as the "Eternal God was year while imprisoned. born to deliver all His people." By contrast, the report contains "Christ was born and God became detailed status reports on individual man, 'to unite heaven and earth,' " Helsinki monitors^ from other Soviet our traditional carol resounds. republics, including members of the On that blessed night, "The grace Moscow Helsinki Group, Anatoly of God appeared, offering salvation Shcharansky, Yuri Orlov, Naum Mei- to all men" (Titus 2:11), for uncreat­ man and Yelena Bonner, wife of exiled ed, eternal love came to earth as a activist Dr. Andrei Sakharov. Of the tiny infant for our salvation. few other political prisoners mentioned, The Blessed Virgin Mary, St. none is Ukrainian. Joseph, the shepherds and the kings Although it is referred,to as the from the Orient were eyewitnesses to president's report, the document was "Salvation, which had been prepared actually drafted by the State Depart­ for all people" (Lk. 2:30). Our earth ment. It covers the period of April I to became the dwelling place of the October 1. almighty and eternal God, who came In the area of religious persecution, to us "that all who believe in Him Vasyl Stus reported gravely ill the report does not mention the perse­ may have eternal life" (John 3:15). cution of Ukrainian Churches, includ­ And so it was that heavenly angelic JERSEY CITY. N.J. - Sources in refusing to conduct the visit in Russian. ing the outlawed Ukrainian Catholic choirs sang out jubilantly that night the Soviet Union have confirmed that A highly regarded poet. Mr. Stus. 46. Church. It does focus on the plight of proclaiming: "Glory to God in the imprisoned Ukrainian human-rights previously served a term from 1972 Pentecostals, Baptists, Russian Ortho­ highest and peace on earth." (Lk: activist and poet Vasyl Stus is gravely ill flbkJ979 for "anti-Soviet agitation and dox believers and Jews. Substantial 2:14) with tuberculosis. propaganda." Soon after'his release he attention is also given the persecution of Reflections on this profound mys­ Mr. Stus. who is in labor camp No. joined the Ukrainian Helsinki Group. ;t Jewish refuseniks and cultural activists, tery, wherein the Son of God comes 36-1 in Perm, is said to be running a citi/ins' group set up three years earlier and the spread of official anti-Semitism to earth should strengthen our grati­ constant temperature and experiencing in Kiev to monitor Soviet compliance and anti-Zionism. tude to Christ for, out of love. He chronic pain in his arms and legs Word with the 1975 Helsinki Accords on While the report docs touch on the came to us to bestow hope, life and of Mr. Stus's condition was related by security and human-rights in Europe. Soviet government's policies of Russifi- salvation upon us. The Son of God his friends, who said that they were He was re-arrested for activities con­ cation in the non-Russian republics, the came to show us the way to heaven, worried about his chances of surviving nected with the group. only regions referred to by name are the to happiness, to eternal life. The the harsh winter. Baltic republics of Lithuania, Estonia Child of Bethlehem is a most power - Despite his poor health. Mr. Stus. In addition to tuberculosis. Mr. Stus and Latvia. The Russification of ful sermon of God's abiding love for who in 1980 was sentenced to 10 years is known to suffer from ulcers and a Ukraine, the most populous non-Rus­ us who are sinful and frail. in a labor camp and five years' internal heart ailment. Sources have also re­ sian republic, is not included, however, These reflections should also exile, has been forced to perform ported that he never fully recovered creating the impression that the policy is strengthen evangelical Christian strenuous labor. He was recently denied from a stab wound suffered several limited to the Baltic areas. (Continued on page 9) a visit with his family, who he had not years ago when he was attacked by The report concludes that the over-all seen in four vears. apparently for another.camp inmate. (CoMimwd on pap 10) THE UKRAINIAN WEEKLY SUNDAY, DECEMBER 23, 1984 No. 52 A glimpse of Soviet reality Police break up Solidarity demonstration WARSAW - The police used teat- shoving. Mr. Walesa, reportedly look­ Top-level meeting in Kiev gas, riot truncheons and smoke gre­ ing disgusted, put his (lowers at the feet nades in Gdansk on December 16 to of the police and withdrew. Mr. Walesa, discusses sociology, politics disperse supporters of the banned who at one point was to have held a Solidarity trade union who tried to news conference, cancelled the meeting by Or. Roman Solchanyk undertaken in the republic with regard memorialize Poles killed while pro­ and went home'. He was described as to "increasing the contribution of the testing food price increases 14 years being upset by the show of police force The continuing Soviet search for a social sciences in solving real, practical ago, reported The New York Times. and concerned about the possibility of more rational basis for the formulation tasks," and "the growing role of socio­ - About 12 people were reported de­ more violence. of political, social and economic logical research in perfecting the tained by police. At the Gdansk memorial liturgy that policies has taken another, step forward practice of party leadership and state 'After a commemorative liturgy at St. preceded the street clashes, the Rev. with the convening of a top:leveI management of social processes." Brigida's Church. Lech Walesa, the Henry Jankowski. an advisor to Mr. meeting in Kiev to discuss the V. 1. Ivanov, director of the Institute founder of the outlawed union, led a Walesa, preached a low-keyed sermon theoretical and applied aspects of of Sociological Research in Moscow, group of 3,000 people, according to an in which he said that "violence, terror sociological research in the USSR. The reported on the findings of various official Polish press agency account, and power are alien to us." meeting, which was held in the research projects throughout the toward the 120-foot high steel mon­ "Our strength is in pure hearts and Ukrainian capital on November 20 and country, including the work being done ument. The monument was built in unfrightened souls," the Times quoted 21, is officially described as a scientific- at the institute on "long-term social memory of the victims of the 1970 him as saying. practical session on questions of the prognoses." shootings during the food protests in development of sociological research, Other speakers included G. N. the Baltic seaport. and brought together Communist Enukidze, the ideological secretary of Behind Mr. Walesa, in the worst Party, government and academic the Georgian party, who discussed the violence in Gdansk in more than seven Polish trade unionist figures from Moscow and various work of the aforementioned public months, several people in the crowd republics. opinion center of the Georgian Central were beaten by policemen who charged wants political role The renewed interest in sociology as a Committee, and Zh. T. Toshchenko, into the throng, the Times said, citing working tool in the hanus. of head of the Department of Ideological eyewitnesses. WARSAW - Bogdan Lis, a leader policymakers has its'immediate origins Work of the Academy of Social The witnesses said at least a dozen of the outlawed Solidarity trade union, in the plenum of the Central Committee Sciences of the CPSU Central'Commit- people were detained. The official said on December 9 that he wanted a of the Communist Party of the Soviet tee, who. focused attention on Polish press agency said "the most political role in Poland's future and Union that was held in June 1983.
Recommended publications
  • Wallingford Riegger
    WALLINGFORD RIEGGER: Romanza — Music for Orchestra Alfredo Antonini conducting the Orchestra of the “Accademia Nazionale di Santa Cecilia-Roma” Dance Rhythms Alfredo Antonini conducting the Oslo Philharmonic Orchestra THIS RELEASE is but further evidence of the growing and gratifying tendency of recent years to recognize Wallingford Riegger as one of the leading and most influential figures in twentieth century American composition, in fact as the dean of American composers. Herbert Elwell, music critic of the Cleveland Plain Dealer, said it in April, 1956: “I am coming more and more to the conclusion that it is Riegger who has been the real leader and pathfinder in contemporary American music . not only a master of his craft but in some ways a prophet and a seer.” In the same month, in Musical America, Robert Sabin wrote: “I firmly believe that his work will outlast that of many an American composer who has enjoyed far greater momentary fame.” Riegger was born in Albany, Georgia, on April 29, 1885. Both his parents were amateur musicians and were determined to encourage their children in musical study. When the family moved to New York in 1900, the young Wallingford was enrolled at the Institute of Musical Art where he studied the cello and composition. Graduating from there in 1907 Riegger then went to Germany to study at the Hochschule für Musik in Berlin with Max Bruch. In 1915-1916 he conducted opera in Würzburg and Königsberg and the following season he led the Blüthner Orchestra in Berlin. Since his return to the United States in 1917, he has been active in many phases of our musical life.
    [Show full text]
  • Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-7-2018 12:30 PM Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse Renee MacKenzie The University of Western Ontario Supervisor Nolan, Catherine The University of Western Ontario Sylvestre, Stéphan The University of Western Ontario Kinton, Leslie The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Musical Arts © Renee MacKenzie 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Music Performance Commons Recommended Citation MacKenzie, Renee, "Rachmaninoff's Piano Works and Diasporic Identity 1890-1945: Compositional Revision and Discourse" (2018). Electronic Thesis and Dissertation Repository. 5572. https://ir.lib.uwo.ca/etd/5572 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This monograph examines the post-exile, multi-version works of Sergei Rachmaninoff with a view to unravelling the sophisticated web of meanings and values attached to them. Compositional revision is an important and complex aspect of creating musical meaning. Considering revision offers an important perspective on the construction and circulation of meanings and discourses attending Rachmaninoff’s music. While Rachmaninoff achieved international recognition during the 1890s as a distinctively Russian musician, I argue that Rachmaninoff’s return to certain compositions through revision played a crucial role in the creation of a narrative and set of tropes representing “Russian diaspora” following the 1917 Bolshevik Revolution.
    [Show full text]
  • Crane Chorus Crane Symphony Orchestra
    JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work.
    [Show full text]
  • Eugene Ormandy Commercial Sound Recordings Ms
    Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985
    [Show full text]
  • 1926, Vol. 12 Just As Mark Twain Had Been the First Writer to Create an Indigenous American Style In
    A Year in Classical Music: 1926, vol. 12 Just as Mark Twain had been the first writer to create an indigenous American style in literature — the first American author who wasn’t just a transplanted European — Charles Ives was the first composer to create an indigenous American style in classical music. His music is experimental and aggressively Modernist, so it’s not as immediately agreeable as Duke Ellington or Aaron Copland, but it evokes the American experience with an eloquence and candor that few other classical composers have matched, and none have exceeded. Ives’ most productive years had been from 1902 (just after he completed his Second Symphony) until 1916 or ’17 (when he completed his Fourth Symphony). After that, with the exception of a number of songs, the Orchestral Set no. 3, and the Three Quarter-Tone Pieces for Two Pianos of 1924, he abandoned any further efforts to conceptualize and begin new works. Into the ’20s Ives spent his composing time revising and improving upon scores he’d begun years earlier. Then, towards the end of 1926, Ives came downstairs from his study with tears in his eyes and told his wife he was no longer able to compose music. “Nothing went well” anymore, he told her. “Nothing sounded right.” The last composition Ives finished was his 1926 song Sunrise, for voice, violin, and piano. Sunrise is a great example of the composer’s late “sublime style”: ethereal, reflective, tranquil. The poem is by Ives himself, set to music that includes light writing for the piano and a violin part that spends much of its time providing an ostinato for the voice.
    [Show full text]
  • CRI-206 Robert Ward Symphony No. 3 (1950) Iceland Symphony
    CRI-206 Robert Ward Symphony No. 3 (1950) Iceland Symphony Orchestra Igor Buketoff, conductor Sacred Songs for Pantheists (1951) Sylvia Stahlman, soprano Polish National Radio Orchestra William Strickland, conductor Recorded By Polski Nagrania, Poland Robert Ward (b 1917, Cleveland, Ohio) received his early musical training in Cleveland’s public schools. After attending the Eastman School of Music where he majored in composition under Bernard Rogers and Howard Hanson, he went on to the Juilliard Graduate School, studying composition there with Frederick Jacobi and conducting with Albert Stoessel and Edgar Schenkman. He obtained his Juilliard degree in 1946. Prior to his induction into the Army in 1942, he worked with Aaron Copland at the Berkshire Music Center. Graduating from the Army Music School at Fort Meyer, Virginia, Ward became Warrant Officer and leader of the 7th Infantry Division, with which he spent several years in the Pacific Theater. While stationed at Fort Riley, he wrote music for an all-soldier show, The Life of Riley, and during the campaigns on Leyte and Okinawa he composed his first symphonic work to gain a wide hearing, the Jubilation Overture (recorded on CRI 159). Since World War II, Mr. Ward has taught at various academic institutions including Columbia University and The Juilliard School of Music, where he was also assistant to the president from 1954 to 1956. From 1952 to 1955 he served as music director of the Third Street Music School Settlement. He is presently executive vice-president and managing editor of the Galaxy Music Corporation and Highgate Press and has been chairman of the Board of Governors and a past president of the American Composers Alliance.
    [Show full text]
  • Completions and Reconstructions of Musical Works Part 4: Russian School by Stephen Barber Borodin Left His Opera Prince Igor
    Completions and Reconstructions of Musical Works Part 4: Russian School by Stephen Barber Borodin left his opera Prince Igor unfinished and it was completed from sketches and memory by Rimsky-Korsakov and Glazunov. A scene by scene account of their contributions is available here. (Rimsky-Korsakov’s role in making performing editions of the work of his compatriots cannot be overestimated, though he freely recomposed and rearranged in a way even the boldest of modern scholars would hesitate to do.) This is the standard version, with recordings by Oskar Danon (Eloquence) and Mark Ermler (Melodiya) among others. Some other recordings omit the third act, which is mostly by Glazunov. Valery Gergiev recorded a new reconstruction (Philips). This is based on a fresh examination of all the sources; it takes into account an unpublished vocal score by Pavel Lamm, which reverses the order of the first two acts and has some other changes, and it also has additional material by Yuri Faliek. Another new edition, by Dmitri Tcherniakov and the conductor Gianandrea Noseda, was mounted and recorded by the Metropolitan opera (DG DVD). Borodin also did not complete his third symphony, or rather, he did not write it all down. Two movements were reconstructed by Glazunov, partly from memory. There are numerous recordings, including Loris Tjeknavorian (RCA) and Neeme Järvi (DG). Mussorgsky worked on many operatic projects but completed few of them. He left two versions of Boris Godunov: the 1869 original and his revision of 1872, with extra scenes but also cuts. In practice, most productions are conflated, drawing on both versions, making cuts, moving scenes and otherwise reorganizing the work.
    [Show full text]
  • NEW YORK PHILHARMONIC 10,000Th CONCERT
    ' ■ w NEW YORK PHILHARMONIC 10,000th CONCERT NEW YORK PHILHARMONIC 10,000th CONCERT Sunday, March 7,1982, 5:00 pm Mahler Symphony No. 2 (Resurrection) Zubin Mehta, Music Director and Conductor Kathleen Battle, soprano Maureen Forrester, contralto Westminster Choir, Joseph Flummerfelt, director CONTENTS The First 9,999 Concerts.................................... 2 Bernstein, Boulez, Mehta By Herbert Kupferberg.................................................. 5 New York Philharmonic: The Tradition of Greatness Continues By Howard Shanet........................................................ 8 Gustav Mahler and the New York Philharmonic............................... 14 Contemporary Music and the New York Philharmonic............................... 15 AVERY FISHER HALL, LINCOLN CENTER THE FIRST 9,999 CONCERTS The population of New York City in NEW YORK PHILHARMONIC: 1982 is 20 times what it was in 1842; the each of them. To survey them is to Philharmonic’s listeners today are define the current richness of the 10,000 times as many as they were in that organization: THE TRADITION OF GREATNESS CONTINUES The Subscription Concerts au­ dience, though not the largest of the their diversity they reflect the varied en Battle, David Britton, Montserrat aballé, Jennifer Jones, Christa Lud- in Avery Fisher Hall. As for television, it ig, Jessye Norman, and Frederica von is estimated that six million people Stade. (Another whole category across the country saw and heard the like - the < iductors. those chosen Philharmonic in a single televised per­ formance when the celebrated come­ dian Danny Kaye conducted the Or­ chestra recently in a Pension Fund benefit concert; and in a season's quota who is Music Director, of "Live from Lincoln Center" and other telecasts by the Philharmonic 20 are presented elsewhere in this publi million watchers may enjoy the Or­ chestra's performances in their homes.
    [Show full text]
  • By David Irving. (2017) Directed by Dr
    HAYWARD, JULIANNA MARTIN, D.M.A. An Exploration of Four Songs for Soprano, Horn, and Piano (1990) by David Irving. (2017) Directed by Dr. Joseph DiPiazza. 174pp. The purpose of this study is to bring attention to the life and music of David Gerow Irving, in particular, his Four Songs for Soprano, Horn, and Piano, composed in 1990. As no previous academic writing has been committed to this subject matter, the study includes an introduction to the life and career of David Irving as well as an overview of his compositional techniques. Chapter 2 includes biographical information about his life in general, his career as a horn player, and his journey to composition. Chapter 3 gives a detailed description of his progression from student to composer. Chapter 4 provides an overview of some of his characteristic compositional tendencies found in a number of his compositions with examples. Chapter 5 focuses on the history and process in composition of the Four Songs for Soprano, Horn, and Piano, including a detailed analysis of each of the songs with comments from the composer. The appendices include a full score of the Four Songs for Soprano, Horn, and Piano, full list of works by David Irving, a written interview with the author, and permissions granted for the use of his correspondence with the author as well as the inclusion of his self-published works. AN EXPLORATION OF FOUR SONGS FOR SOPRANO, HORN, AND PIANO (1990) BY DAVID IRVING by Julianna Martin Hayward A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2017 Approved by _____________________________ Committee Chair APPROVAL PAGE This dissertation written by JULIANNA MARTIN HAYWARD has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Lingas, A. (2015). An Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946). In: Morosan, V. and Lingas, A. (Eds.), Maximilian Steinberg, Opus 13, Based on Early Russian Chants (Musical Score). (pp. vii-xviii). San Diego, CA, USA: Musica Russica. ISBN 978-0-9701767-5-2 This is the submitted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16597/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Steinberg Intro Page 1 of 29 Introduction to Passion Week, Opus 13 by Maximilian Steinberg (1883–1946)1 Alexander Lingas, City University London & EHRC, University of Oxford Over the last few decades there has been an international revival of interest in what Vladimir Morosan has called
    [Show full text]
  • Rachmaninoff, Serge in Oxford Music Online
    Rachmaninoff, Serge in Oxford Music Online http://www.oxfordmusiconline.com/subscriber/article/grove/music/501... Oxford Music Online 1 de 12 11/03/2012 17:37 Rachmaninoff, Serge in Oxford Music Online http://www.oxfordmusiconline.com/subscriber/article/grove/music/501... Grove Music Online Rachmaninoff, Serge article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/50146 Rachmaninoff [Rakhmaninov, Rachmaninov], Serge [Sergey] (Vasil′yevich) (b Oneg, 20 March/1 April 1873; d Beverly Hills, CA, 28 March 1943). Russian composer, pianist and conductor. He was one of the finest pianists of his day and, as a composer, the last great representative of Russian late Romanticism. The influences of Tchaikovsky, Rimsky-Korsakov and other Russian composers soon gave way to a thoroughly personal idiom, with a pronounced lyrical quality, expressive breadth, structural ingenuity and a palette of rich, distinctive orchestral colours. 1. 1873–92. There remains some debate about the exact place of Rachmaninoff’s birth. A case has been made for Semyonovo (Bryantseva, 1969), but Rachmaninoff himself always thought he was born at Oneg in the Novgorod region, and other evidence indicates that that was probably the case. According to the Old Style calendar, he was born on 20 March 1873, yielding 1 April as the New Style date; but after emigrating from Russia in 1917, Rachmaninoff habitually celebrated his birthday using the 20th-century conversion principle of adding 13 days to the Old Style date. The plaque on his tomb thus bears the birthdate 2 April 1873. Rachmaninoff’s improvident father squandered the family fortune, and the family was rapidly reduced from having several homes to occupying the one estate at Oneg.
    [Show full text]
  • 95.3 FM N N Rachmaninoff: the Isle of the Dead, Op
    N N March/April 2015 Volume 43, No. 3 N 95.3 FM N N Rachmaninoff: The Isle of the Dead, Op. 29; Mitropoulos, Minneapolis Symphony Orchestra (March 2, 1945 - Sony) WHRB Program Guide Schubert: Piano Trio in B-flat, D. 898; Felix Galimir, László Vargas (d. December 11, 2014), István Nádas (Period LP) March-April, 2015 10:00 pm RECORD HOSPITAL 95.3 FM Tuesday, March 3 5:00 am JAZZ SPECTRUM Sunday, March 1 1:00 pm AFTERNOON CONCERT Liszt: Années de pèlerinage, First Year, Switzerland; Fiorentino 7:00 am BLUES HANGOVER (Dover LP) 11:00 am MEMORIAL CHURCH SERVICE Lobo: Missa Simile est regnum caelorum; Trendell, Choir of Preacher: Jonathan L. Walton, Plummer Professor of Christian King’s College, London (ASV) Morals and Pusey Minister in The Memorial Church, Harvard. Telemann: Gulliver Suite for Two Violins; Manze, Balding Music includes Palestrina’s Missa Brevis. (Harmonia Mundi) 12:30 pm AS WE KNOW IT Glazounov: Symphonic Poem, “Stenka Rasin,” Op. 13; 1:00 pm CRIMSON SPORTSTALK Ansermet, Orchestre de la Suisse Romande (London) 2:00 pm SUNDAY SERENADE Hovhaness: Sonata for Harp, Op. 127; Kondonassis (Telarc) 6:00 pm HISTORIC PERFORMANCES Rebel: Les Elémens; Goebel, Musica Antiqua Köln (DG Archiv) Pianist Claudio Arrau. Dante label performances are reissues Barber: Dover Beach, Op. 3; Hampson, Emerson String Quartet of his earliest recordings. Mendelssohn: Salve Regina; Hamari, Bernius, Stuttgart Chamber Bach: Chromatic Fantasy and Fugue (RCA Victor) Choir, Ensemble ‘76 Stuttgart (Carus) Beethoven: Piano Sonatas Nos. 24 and 31 (EMI) Vasks: Landscape with Birds for Solo Flute; Krenberga (Conifer) Balakirev: Islamey (Dante) Saint-Saëns: Tarantelle for Flute, Clarinet, and Orchestra, Op.
    [Show full text]