DOCSLIB.ORG

FOR IMMEDIATE RELEASE… Russian Folk

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FOR IMMEDIATE RELEASE… Russian Folk Oconomowoc Area School District FOR IMMEDIATE RELEASE… FOR MORE INFORMATION, CONTACT: Michael Duncan – Arts Center Manager 641 East Forest Street Oconomowoc, WI 53066 262. 560.2130 [email protected] Russian Folk Cabaret Café Series February 22 and 23 6:30 PM Dining 7:00 PM Show Oconomowoc, WI – The Oconomowoc Arts Center (OAC) is pleased to present Russian Folk, Feb. 22 and 23 at 7:00 PM. The performances are part of the popular Cabaret Café Series. The trio is headed by accordion virtuoso, Stas Venglevski, a nationally known player recognized for his use of the “bayan,” a Russian accordion that has a different tone and bass with a much fuller sound. Other members of the band include, Anna Kryukovskaya, a vocalist and Misha Latvin, a master mandolinist and domra player. The trio will be performing traditional Russian folk favorites, many in their native language, with some original compositions that hail brilliant artistry and melody. Venglevski is a native of the Republic of Moldova, part of the former Soviet Union. He is a graduate of the Russian Academy of Music in Moscow where he received his Masters Degree in music under the famed Russian Bayanist, Fredrich Lips. In 1992, he immigrated to the US. Venglevski has performed all over the United States, Canada and Europe. He is a regular with the Milwaukee Symphony Orchestra and has performed with the Chicago Symphony Orchestra and the Tacoma Symphony Orchestra. He has also done performances with Doc Severinsen, Steve Allen and with Garrison Keillor on the Prairie Home Companion Show. Page 2. Anna Kryukovskaya was born in St. Petersburg, Russia and graduated from St. Petersburg University. She began her vocal career in Europe and won several international competitions She brought her talents to the United States a few years ago and is a master of many styles including classical arias, romances, folk songs, jazz and modern songs. Misha Latvin has performed both as a soloist and with chamber orchestras in Russia, Germany, Switzerland, the Netherlands, France, and now in the United States. Latvin is currently residing in the Milwaukee area and performs throughout the Midwest. In addition, he is a faculty member at the Wisconsin Conservatory of Music. Together the three talented members of Russian Folk bring an innovative musical adventure to the audience with favorites such as “Lara’s Theme” from “Doktor Zhivago,” “March & Trepak” from “The Nutcracker” and “Balalaika,” simply to name a few. “Just a reminder that most of the Cabaret Café series has been selling out and we have been turning people away” – OAC Director Michael Duncan states. “Because these performances are in the Little Theater, where seating is limited, tickets sell out quickly. Don’t be left out in the cold, call ahead to reserve your tickets today!” The Cabaret Café is set in the OAC’s Little Theater with an intimate environment complete with soft lighting and tables adorned with linens and candles. OAC’s very own, Chef Brian Shoemake, has a wonderful array of food lined up for the two performances. Keeping in line with the Russian theme, the menu includes Russian beef stroganoff with crispy fried potatoes, picked beet and cucumber salad, along with “Medovik” – a Russian honey cake for dessert. Water, soda and other beverages will also be available. Dinner packages are available which includes a show ticket and the meal: $32 Adults and $20 Students, reserved. Show only tickets are also available: $22 Adults and $12 Students, reserved. Service fees may apply. Food is available a la carte at each show performance. Please indicate when ordering tickets if you would like a dinner package or show ticket only. Call the box office at 262-560-3172 for more information or to order tickets. Information and ticket orders are also available on line at www.theoac.net. The Oconomowoc Arts Center is located at 641 East Forest Street, Oconomowoc. For more information on Stas Venglevski, please visit his website at www.stasv.com. ### .
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Prek–12 EDUCATOR RESOURCES QUICK GUIDE
    PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and
    [Show full text]
  • Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL.
    [Show full text]
  • CORDAS Inter & PT.Xlsm
    INSTRUMENTS TUNING AND SCALE LENGHT 20/07/2017 Instrument Scale Type END Notes Classical 4/4 High Tension 650 mm Nylon E B G D A E Classical 3/4 High tension 577 mm Nylon E B G D A E Acoustic Guitar Bronze 0,011 650 mm Steel Ball E B G D A E Acoustic Guitar 3/4 Bronze 580 mm Steel Ball E B G D A E Baritone Guitar 766 mm Nylon B F# D A E B Tenor Guitar 577 mm Nylon A D G C Acoustic bass - 32 inch 812 mm Taped Ball G D A E Algerian Mondol 10C 650 mm Steel Loop B B G G D D A A E E Algerian Mondol 8C 650 mm Steel Loop B B G G D D A A Balalaika Alto 520 mm mix Ball A E E Balalaika Prima 445 mm Nylon A E E Banjo Guitar 650 mm Steel Ball E B G D A E Banjo Mandola 468 mm Steel Loop E E A A D D G G Banjo Portuguese 364 mm Steel Loop E E A A D D G G Banjo Trompete 300 mm Steel Loop E E A A D D G G Caipira 564 mmSteelBall E E B B G G E E B B Cap-verde 364 mm Steel Ball D B G D Cav Brasilian & Original 342 mm Steel Ball D B G D Cuatro Puerto Rico 515 mm Nylon G G D D A A E E B B Cuatro Venuzuelano 484 mm Nylon B F# D A Domra Alto 490 mm Nylon D A E Domra Prima 395 mm Nylon D A E Irish Bouzouki 650 mm Steel Loop D D A A D D G G Mandocello 610 mm Steel Loop E E A A D D G G Mandocello EU 650 mm Steel Loop A A D D G G C C Mandola 468 mm Steel Loop E E A A D D G G Mandola Octave 563 mm Steel Loop E E A A D D G G Mandolin 364 mm Steel Loop E E A A D D G G Portuguese Amarantina 505 mm Steel Loop A A E E B B A A D D Portuguese Beiroa 520 mm SteelLoop D D B B G G D D A A D D Portuguese Braguesa 505 mm Steel Loop A A E E B B A A D D Portuguese Braguinha 342
    [Show full text]
  • Folk Instruments Department
    Администрация Краснодарского края Администрация города Сочи The main winter cultural event SOCHI in Russia FOLK INSTRUMENTS DEPARTMENT February 2018, from 17 to 21 REGULATIONS III International Musical Academy of Winter International Arts Festival in Sochi FOLK INSTRUMENTS DEPARTMENT Period: February 2018, from 17 to 21 Place: city of Sochi, Russia 1. GENERAL PROVISIONS OF III INTERNATIONAL MUSICAL ACADEMY Folk Instruments Department operates within the frameworks of International Musical Academy of Winter International Arts Festival in Sochi. The department realize a number of educational events for young gifted musicians containing master-classes of specialty and ensemble art, courses, lectures of outstanding professors and art people in musical society, concert performances. The Academy is held by the Organizers with the aim of searching, supporting and educating gifted musicians from a round the world, developing a culture of communication among the younger generation through joint creative work, regardless their social status, origin or intellectual level. The Academy is held according to the regulation rules about the Folk Instruments Department. Participation at the academy means full and clear agreement with state rules. 1.1. Organizers and partners of the Academy Holding of the Academy, preparations and organization is made by Winter International Arts Festival in Sochi (hereinafter WIAFS), artistic director – Yuri Bashmet, executive director – Dmitriy Grinchenko. Artistic director of Folk Instruments Department is Dmitry Dmitriyenko. 1.2. Period and place of holding: The academy is held from 17 to 21 of February 2018 in the city of Sochi. Date of arrival in Sochi is 16 of February 2018, departure on 22 of February 2018.
    [Show full text]
  • RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
    RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.
    [Show full text]
  • Folk Songs of China's Tajik & Russian Minorities
    FOLK MUSIC OF CHINA VOL. 6 Folk Songs of China’s Tajik & Russian Minorities FOLK SONGS OF CHINA’S TAJIK & RUSSIAN MINORITIES TAJIK 1 Power of Love 4:17 2 Adorable Mang Gu Li 4:04 3 Flowers of Xingong 3:44 4 Endless Longing 3:34 5 In a Cluster of Flowers 3:16 6 Looking Smart 2:07 7 The Yellow Head Scarf 2:06 8 Why are the Flowers so Red? 3:15 9 Like Flowers (Birds Chirp Happily) 7:20 10 My Beloved 2:12 11 Peach Blossoms 4:58 12 A Flying Eagle 3:47 13 Your Bright Face 2:29 14 Bird’s Greetings 2:11 RUSSIAN 15 Was it My Fault? 1:25 16 A Riverside Log Cabin 3:42 17 Kardelen (Russian folk dance music) 2:26 18 Millions of Roses 5:18 19 Destiny 3:30 20 Harsh Winter 2:40 TOTAL PLAYING TIME: 68:56 Nezerbay – Vocals 1 , 5 , 9 • Rawap 1 – 14 • Mardan – Satar 1 – 14 , Vocals 9 Shahmat – Hand drum 1 – 14 • Maryamhan Adil – Vocals 2 , 4 , 10 Pahtiyek – Vocals 3 , 6 , 11 – 14 • Rehimbay – Vocals 7 , 8 Lidia Luniauv – Vocals 15 , 18 , 20 • Balalaika 15 • Vladimir Mokilin – Vocals 16 , 17 , 19 Bayan 16 – 20 • Zazulina Vera – Vocals 18 , 20 FOLK SONGS OF CHINA’S TAJIK & RUSSIAN MINORITIES A brief introduction to the region and the folk music styles This album features folk songs from the Tajik and Russian ethnic minority groups living in the western and northwestern areas of Xinjiang, China. If you are familiar with music from the Xinjiang region at all, you are probably thinking of the type of background music played in restaurants serving Xinjiang cuisine, and may assume that the music found here is of a similar style.
    [Show full text]
  • Bayan + Flute: Arts @ Holy Trinity to Present Stasera Duo by Jarrett Hoffman
    Bayan + flute: Arts @ Holy Trinity to present Stasera Duo by Jarrett Hoffman Recently, maybe just by coincidence, Akron’s Arts @ Holy Trinity series has been highlighting uncommon, intriguing pairings of instruments — ones that often represent different spheres of the musical world, but that overlap in some slight way. Last month brought clarinet and acoustic guitar, which share the same basic material: wood. And next up is flute and accordion, which derive their sound from the same place: air. More specifically, when Stephanie Jutt and Stanislav Venglevski of the Stasera Duo give a virtual concert on Sunday, March 21 at 4:00 pm (register h​ere)​, the combination that will be on display is flute and bayan, a type of chromatic button accordion developed in Russia that’s known for its wide range and rich sound. Their program is diverse — it’s mostly made up of Venglevski’s original works, but also includes music by Astor Piazzolla, Isaac Albéniz, Alexander Tziganov, Raimundo Pineda, Claude Debussy, Henry Mancini, and J.S. Bach. It’s also very recent. The Duo was scheduled to record it on Monday at the Madison Museum of Contemporary Art. “It’s a place where we can safely get a few cameras in, and it’s going to be closed on Monday morning, so we’re going in at ten,” Jutt said by telephone last week. The choice of Madison, Wisconsin is also symbolic: it’s the ensemble’s birthplace. Jutt and Venglevski met there in 2019, when she invited him to be a guest artist in the Bach Dancing and Dynamite Society, a chamber music festival she co-founded and co-directs.
    [Show full text]
  • Massenkoff Russian Folk Festival Starring NIKOLAI MASSENKOFF, Basso
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Massenkoff Russian Folk Festival starring NIKOLAI MASSENKOFF, Basso Balalaika Ensemble and Folk Ballet (Soloists from Perfiloff Dancers) NIKOLAI MASSENKOFF, Director OLEG GOLDSHTEIN, Musical Director VLADIMIR PERFILOFF, Director, Perfiloff Dancers FRIDAY EVENING, FEBRUARY 29, 1980, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Old Russia Vyesna (Spring) Spring is welcomed in every country and especially in Russia, after a long winter. This instru­ mental arrangement was prepared by Darcy Methenitis, flutist of the Ensemble. Rooskay Sveeta (Russian Suite) The choreography by Perfiloff is based on two folk tunes: a very slow lyric melody in minor is employed for the first half of the dance, followed by a lively tune "Polyanka" which brings the men on stage. Dvyenadtsat Razboyneekov (Twelve Thieves) Once upon a time in old Russia lived the "Twelve Thieves." Their leader, a brave man, was Ataman Koodiar. Many innocent people were sacrificed and much blood was shed until one day God awakened the conscience of Ataman Koodiar and changed his ways. A very old Monk in a Monastery named Pyetyereem, whose previous name was Koodiar, tells us this tale. Nad Palyamee (Over the Fields) The clean fields sparkle as the half moon, bird-like, flies over them sending sparks into the air. 101st Season Fifty-third Concert Ninth Annual Choice Series Karabeineek (The Peddler) This song describes a peddler selling his goods at the fair until he meets a dark-eyed beauty. The story, however, ends here. Tanyets (Dance) The melodies engaged for this dance are "Shtoto Zvon" and "Svyetyet Myesyats." Featured dancers are Kiril Uher and Maria Uher.
    [Show full text]
  • Balalaika School
    Seite 1 von 58 The Balalaika School Here it is, the Balalaika, an instrument of the Russian people, small and slight and so modest with its three strings, and yet so versatile: It can – like the guitar, and very well also together with it – accompany songs with chords and give the song this typical Russian sound. But of course its speciality is to play melodies: To strum a cheerful dance song so playfully, to sing about lonely birch-trees and lost love so longingly, and to strike up a cossack dance so stimulatingly that nobody can sit still any longer – that's what only a Balalaika can do. The Prim-Balalaika introduces itself Its full name is "Prim-Balalaika", because it has – from the Second-Balalaika which is a little bigger, to the Bass-Balalaika which is as tall as a man – still five bigger sisters which play together in a Balalaika orchestra. But all Balalaikas have this characteristic triangular shape. That was created in the 17th century as the simplified reproduction of an old-russian three- string lute called "Domra" which had a nearly circular, very skilfully and costly built resonance body – the common people could not afford to buy this precious instrument, and they copied it for themselves with a simple triangular body. So the Balalaika from the first beginning has been an instrument of the people, of the peasants and workmen, fishers and trappers, and in the Balalaika songs it tells us about the life of the simple people, about their work and their feasts, their sorrows and joys, about love and longing, and servitude and liberation ..
    [Show full text]
  • The 'Adaptability' of the Balalaika: an Ethnomusicological Investigation Of
    University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2015 The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument Nicolas Chlebak University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Chlebak, Nicolas, "The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument" (2015). UVM College of Arts and Sciences College Honors Theses. 14. https://scholarworks.uvm.edu/castheses/14 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. !1 of !71 The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument Nicolas Chlebak The University of Vermont’s German and Russian Department Thesis Advisor: Kevin McKenna !2 of !71 INTRODUCTION According to the Hornbostel-Sachs system of characterizing instruments, the balalaika is considered a three stringed, triangular lute, meaning its strings are supported by a neck and a bridge that rest over a resonating bout or chamber, like a guitar or violin.1 Many relegate the balalaika solely to its position as the quintessential icon of traditional Russian music. Indeed, whether in proverbs, music, history, painting or any number of other Russian cultural elements, the balalaika remains a singular feature of popular recognition. Pity the student trying to find a Russian tale that doesn’t include a balalaika-playing character.
    [Show full text]
  • REGULATIONS V International Musical Academy of Winter International Arts Festival in Sochi Folk Instruments Department
    REGULATIONS V International Musical Academy of Winter International Arts Festival in Sochi Folk Instruments Department Period: February 2020, from 14th-20th Place: city of Sochi, Russia 1. GENERAL PROVISIONS of V International Musical Academy Folk Instruments Department operates within the frameworks of International Musical Academy of Winter International Arts Festival in Sochi. The department realize a number of educational events for young gifted musicians containing master-classes of specialty and ensemble art, courses, lectures of outstanding professors and art people in musical society, concert performances. The Academy is held by the Organizers with the aim of searching, supporting and educating gifted musicians from around the world, developing a culture of communication among the younger generation through joint creative work, regardless their social status, origin or intellectual level. The Academy is held according to the regulation rules about the Folk Instruments Department. Participation at the academy means full and clear agreement with state rules. 1.1. Organizers and partners of the Academy Holding of the Academy, preparations and organization is made by Winter International Arts Festival in Sochi (hereinafter WIAFS), artistic director – Yuri Bashmet, executive director – Dmitriy Grinchenko. Artistic director of Folk Instruments Department is Dmitry Dmitriyenko. 1.2. Period and place of holding: The academy is held from 14 to 19 of February 2020 in the city of Sochi. Date of arrival in Sochi is 13/14th of February 2019, departure on 20th of February 2020 1.3. Professors of Folk Instruments Department: Artistic director of Department and professor of concertmastering, ensemble and bayan Dmitry Dmitriyenko (bayan) Laureate of international competitions, head of department “orchestra folk instruments” of State Musical Pedagogical Institute named after M.M.
    [Show full text]