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Time for Europe to Pace Development of SPV Page 2 |No
Mehr Vision|No.12|November-December 2018 Time for Europe to pace development of SPV Page 2 |No. 12|Nov - Dec 2018 MEHR NEWSAGENCY Contents Muslims need to talk more with each other: Bajrami 4 Iran is a role model for uniting Muslim states: Indonesian scholar 5 Imam Khomeini initiated idea of Islamic Unity: Prof. Mirza 6 Only Resistance can solve Palestinian crisis: German analyst 7 Dossier Palestine a big umbrella that gathers all Muslims: Hamas rep. 8 Theorizing religion in intl. relations not only feasible but essential 10 PGCC never was effective organization: Shireen Hunter 12 Qatar withdrawal from OPEC may increase Iran’s production shar 13 Political squabbles among OPEC members have weakened its efficacy 14 US new sanctions to impact Iranian nation: Dorsey 16 Al-Khalifa regime threatened people to vote in elections: Bahraini cleric 17 Interview EU army won’t threaten NATO future: ex-CIA official 18 US had no choice but to grant Iranian oil buyers waivers 19 Mehr Vision The sad fate of Europe’s leading figure 22 Tel Aviv’s ‘northern shield’ operation’s objective in Lebanon border 23 Managing Director: Ali Asgari FATF member countries, the very center of money laundering 24 Editorial Board: West return to 2007: Europe’s anger over incompetent politicians 25 Seyed Amir Hassan Dehghani, Will Clinton have the EU’s support? 26 Mohammad Ghaderi, France’s unrestful days with Macron 27 Payman Yazdani Opinion US propaganda war against Iran doomed to failure 28 Editorial Coordinator: Kornet missile wins over Netanyahu’s cabinet 29 Lachin Rezaian Democrats vs. -
43E Festival International Du Film De La Rochelle Du 26 Juin Au 5 Juillet 2015 Le Puzzle Des Cinémas Du Monde
43e Festival International du Film de La Rochelle du 26 juin au 5 juillet 2015 LE PUZZLE DES CINÉMAS DU MONDE Une fois de plus nous revient l’impossible tâche de synthétiser une édition multiforme, tant par le nombre de films présentés que par les contextes dans lesquels ils ont été conçus. Nous ne pouvons nous résoudre à en sélectionner beaucoup moins, ce n’est pas faute d’essayer, et de toutes manières, un contexte économique plutôt inquiétant nous y contraint ; mais qu’une ou plusieurs pièces essentielles viennent à manquer au puzzle mental dont nous tentons, à l’année, de joindre les pièces irrégulières, et le Festival nous paraîtrait bancal. Finalement, ce qui rassemble tous ces films, qu’ils soient encore matériels ou virtuels (50/50), c’est nous, sélectionneuses au long cours. Nous souhaitons proposer aux spectateurs un panorama généreux de la chose filmique, cohérent, harmonieux, digne, sincère, quoique, la sincérité… Ambitieux aussi car nous aimons plus que tout les cinéastes qui prennent des risques et notre devise secrète pourrait bien être : mieux vaut un bon film raté qu’un mauvais film réussi. Et enfin, il nous plaît que les films se parlent, se rencontrent, s’éclairent les uns les autres et entrent en résonance dans l’esprit du festivalier. En 2015, nous avons procédé à un rééquilibrage géographique vers l’Asie, absente depuis plusieurs éditions de la programmation. Tout d’abord, avec le grand Hou Hsiao-hsien qui en est un digne représentant puisqu’il a tourné non seulement à Taïwan, son île natale mais aussi au Japon, à Hongkong et en Chine. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Ars Choralis 2018
HrVATSKA UDrUGA ZBoroVo\A CroATIAN CHorAL DIrECTorS ASSoCIATIoN mE\UNAroDNI ZBorSKI INSTITUT INTErNATIoNAL CHorAL INSTITUTE ARS CHORALIS 2018 Peti međunarodni simpozij o korusologiji zborska umjetnost – pjevanje – glas The Fifth International Symposium on Chorusology Choral Art – Singing – Voice Zagreb, 5. – 7. 4. 2018 CroATIA ARS CHORALIS 2018 Peti međunarodni simpozij o korusologiji zborska umjetnost – pjevanje – glas The Fifth International Symposium on Chorusology choral art – singing – voice Organizator / Organizer Hrvatska udruga zborovođa / Croatian Choral Directors Association Međunarodni zborski institut / International Choral Institute www.huz.hr • www.choralcroatia.com Ovaj je simpozij posvećen / This Symposium is dedicated to April 16th WORLD VOICE DAY SVJETSKI DAN GLASA 16. travnja world-voice-day.org Počasni gost / Guest of Honour Dr. CHUN KOO – South Korea Ovaj je simpozij posvećen / This Symposium is dedicated to Ovaj je simpozij organiziran od The Symposium is organized by Hrvatske udruge zborovođa The Croatian Choral DIrectors Association u suradnji s in collaboration with Institutom za crkvenu glazbu The Institute for Church Music Katoličkoga bogoslovnog fakulteta of Catholic Theological Faculty of Sveučilišta u Zagrebu University of Zagreb Simpozij je sufinanciran od The symposium is financialy supported by Ministarstva kulture Republike Hrvatske The Ministry of Culture Turističke zajednice grada Zagreba The Zagreb Tourist Board Medijski pokrovitelj Hrvatski katolički radio / Croatian Catholic Radio Tematska područja -
Women Musicians and Dancers in Post-Revolution Iran
Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. -
Discovering an International Language Called Music
Discovering an International Language called music Tavoos Quarterly,No.8 Omid Rohani (2012) Abstract Iranian music is a rich treasury of harmonious compositions, enchanting melodies and profound, illuminating lyrics. Yet, despite its extraordinary scope and astonishing resources, its deep connection with the essence of Iranian culture and the emotional and spiritual nature of the Iranian psyche, and a history spanning thousands of years, it is not recognized in Western circles as an international musical style, nor as a potential currency for cultural exchange. In its encounter with scientific, academic styles and classical Western music, Iranian music has remained a remote art. Our only accomplishment has been to acquaint a limited audience of educational concerts with this profound and deep-rooted art. In the cultural exchanges between the East and West, our music has been left far behind that of India, Japan, Africa, and South America. Why has our music been detained from participating in an artistic exchange in the vast domain of art? This question sparked a discussion between Loris Cheknavorian, the composer, musicologist and conductor of Armenian origin, and Fereydoon Nasseri, the musicologist and conductor of the Tehran Symphony Orchestra. Is Iranian music—composed of regional, folk, and traditional radifi music—capable of being performed on an international scale, and not simply regarded as an Eastern, marginal art? Loris Cheknavorian: We have a style of folk music that exists among the people of the villages in various parts of the country. This music is the first of three main genres and has been passed down through generations. It is related to certain ceremonies, weddings, circumcision ceremonies, birthdays and such, and has no scientific bearing. -
Bratislava MUSIC FESTIVAL Fêtes De Musique De Bratislava • BRATISLAVSKÉ HUDOBNÉ SLÁVNOSTI Musikfestspiele Bratislava • Festival De Música De Bratislava
BratislavA MUSIC FESTIVAL Fêtes de Musique de Bratislava • BRATISLAVSKÉ HUDOBNÉ SLÁVNOSTI Musikfestspiele Bratislava • Festival de Música de Bratislava 43rd YEAR 23.11.-7.12.2007 Main Organizer Main Sponsor Sponsor BHS Member of European Festivals Association BHSS_sklad2007_V2_modre_Aj.indd_sklad2007_V2_modre_Aj.indd 4 110/11/070/11/07 22:36:42:36:42 PM Main Organizer as delegated by and with a contribution of the Ministry of Culture of the SR Slovenská fi lharmónia / Slovak Philharmonic Th e festival is held under the patronage of Ivan Gašparovič, President of the Slovak Republic Honorary President – Edita Gruberova Friday, November 23 Moyzes Hall TI International Forum of Young Performers New Talent 2007 – SPP Foundation Award chamber concerts / semifi nal 5.00 pm Aljaž Beguš, clarinet / SLO Tine Th ing Helseth, trumpet /NOR Jana Vonášková-Nováková, violin / CZE Fanny Clamagirand, violin / FRA 8.00 pm Anna Maria Staskiewicz, violin / POL Ladislav Fančovič, piano / SVK Tomáš Jamník, cello / CZE Toke Moldrup, cello / DEN Saturday, November 24 7.30 pm Concert Hall of the Slovak Philharmonic Opening Concert of the 43rd Bratislava Music Festival 2007 Slovak Philharmonic conductor: Alexander Rahbari soloist: Alban Gerhardt, cello J. L. Bella: Concert Piece in Hungarian Style E. Elgar: Cello Concerto in E Minor, Op. 85 D. Shostakovich: Symphony No. 10 in E Minor Op. 93 Th is year the festival is opened by an overture composed by a founder of the classical Slovak music Ján Levoslav Bella. Opinions diff er as to the year of the origin of the piece – according to sources it was written either before 1893 or in 1896. -
Iran's Eternal Figure for 2010
Managing Director: Editorial Dept.: Advertisements Dept.: Subscription & Distribution Dept.: Poem of the day Tel: (+98 21) 88895450 Telefax: (+98 21) 88896970-71 Tel: (+98 21) 88808895 You know all secrets of this earthly sphere, Tel: (+98 21) 88800789 Fax: (+98(21) 88808214 [email protected] Why then remain a prey to empty fear? [email protected] Webmaster: You can not bend things to your will, but yet SINCE 1979 Switchboard Operator: Public Relations Office: [email protected] Cheer up for the few moments you are here! TEHRAN TIMES Khayyam No. 18, BIMEH LANE, NEJATOLLAHI ST., TEHRAN, IRAN Tel: (+98 21) 88800293-5 Tel: (+98 21) 88805807 Printed at: Kayhan - ISSN: 1017-94 P.O. Box: 14155-4843 ZIP Code: 1599814713 Tomorrow’s weather Prayer Times 178 20-2 162 2112112 2122911 17-1 http://www.tehrantimes.com/culture Noon: 11:50 Evening: 17:14 Dawn: 5:18 Sunrise: 6:46 (tomorrow) (tomorrow) TEHRAN SHIRAZ TABRIZ YAZD RASHT MASHHAD AHVAZ ISFAHAN Iranian President Ahmadinejad sends elites praised message to Tehran short filmfest at Eternal Tehran Times Art Desk TEHRAN — The 27th edition of the Tehran International Short Film Festival opened with a cer- Figures emony on Friday noon during which a message from Presi- dent Mahmoud Ahmadinejad Gathering was read. “The creative artists and Tehran Times Culture Desk young filmmakers can deepen TEHRAN — Iranian elites from various field our perspective of the world by including cultural luminaries were praised featuring the beauty of nature during the eighth Eternal Figures Gathering Honorees pose for a photograph at the Eighth Eternal Figures Gathering at the Islamic Republic of Iran Broadcasting (IRIB) International Conference Hall on November 18, 2010. -
BEETHOVEN BRAHMS Favourite Overtures Fidelio Creatures of Prometheus Coriolanus Ruins of Athens Egmont Leonora No
BEETHOVEN BRAHMS Favourite Overtures Fidelio Creatures of Prometheus Coriolanus Ruins of Athens Egmont Leonora No. 3 Tragic Academic Festival Slovak Philharmonic Orchestra BRT Philharmonic Orchestra, Brussels Stephen Gumenhauser Alexander Rghbari Ludwig van Beethoven (1770 - 1827) Overtures Fidelio, Opus 72 Creatures of Prometheus, Opus 43 Coriolanus, Opus 62 Ruins of Athens, Opus 113 Egmont, Opus 84 Leonora No. 3, Opus 72a Johannes Brahms (1833 - 1897) Tragic Overture, Op. 81 Academic Festival Overture, Op. 80 It was the theatre, as much as anything else, that held the cultural interests of the Viennese in the eighteenth and early nineteenth centuries. There was a demand for opera of all kinds, in which the principal composers were involved. Mozart's dissatisfaction with his native Salzburg resulted in part from a lack of opera there and a consequent lack of opportunity, a matter remedied when he moved to Vienna in 1781 to join composers of the stature of Salieri. Beethoven settled in Vienna in 1792, making a name for himself as a pianist and as a composer of marked originality. He lacked the education of Mozart and of Gluck and was without their literacy, but read widely, if without discrimination, and shared something of the general interest in drama increasingly dominated by France. As it turned out, Beethoven wrote only one opera, Fidelio, its final title the name assumed by the heroine Leonora, who disguises herself as a boy in order to rescue her husband Florestan from the dungeon into which his political enemies have cast him. The libretto was drawn from a French original, an example of the rescue opera that had become topical and popular in Paris in the aftermath of the Revolution, and in choosing such a subject Beethoven seems to attempt to emulate Cherubini, a composer who dominated Paris and had won great popularity in Vienna. -
Nohe Khan’ the Creator of Glory, the Creator of the World, the Creator of Fortune, the One Who Sends the Prophets
Alexander RAhbARi My Mother Persia Symphonic Poems • 3 Nos. 9 and 10 Ladislav Fančovič, Saxophone Reza Fekri, Tenor Prague Metropolitan Orchestra Alexander Rahbari Alexander Rahbari (b. 1948) My Mother Persia – Symphonic Poems Nos. 9 and 10 Alexander Rahbari was born in Tehran, Iran. He studied began writing the most lauded pieces of his career. His Symphonic Poem No. 10 ‘Morshed’ violin and composition with Rahmatollah Badiee and works include Persian Mysticism – A Symphonic Poem for Dedicated to Ahmad Pejman Hossein Dehlavi at the Persian National Music Orchestra (1968), music used in United Nation advertising Conservatory. From the age of 17, he was a violinist at performed by the Vienna Symphony Orchestra (1975), the Nowadays, a ‘Morshed’ is a person who has a good singing from the Shahnameh (‘The Book of Kings’), written by the the Fine Arts Administration Orchestra under the baton of soundtrack for a documentary by French director André voice and sits in their special place (named a ‘dam’), Persian poet Ferdowsi. In the past, the Morshed was the Hossein Dehlavi. Soon after receiving his violin diploma Malraux (1977), Beirut Symphonic Poem (1985) originally playing and singing during the pahlevani and zoorkhaneh person who trained the athletes. During the rituals, the from the National Conservatory, he won a scholarship written for nine flutes, Halfmoon (1984), a piece for rituals (the UNESCO-designated name for varzesh-e Morshed wears a piece of cloth on his shoulder named from the Iran Ministry of Culture and Art to study orchestra and choir performed and commissioned by the pahlavāni , or ‘ancient sport’). -
ITALIAN, PORTUGUESE, SPANISH and LATIN AMERICAN SYMPHONIES from the 19Th Century to the Present
ITALIAN, PORTUGUESE, SPANISH AND LATIN AMERICAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman FRANCO ALFANO (1876-1960, ITALY) Born in Posillipo, Naples. After studying the piano privately with Alessandro Longo, and harmony and composition with Camillo de Nardis and Paolo Serrao at the Conservatorio di San Pietro a Majella, Naples, he attended the Leipzig Conservatory where he completed his composition studies with Salomon Jadassohn. He worked all over Europe as a touring pianist before returning to Italy where he eventually settled in San Remo. He held several academic positions: first as a teacher of composition and then director at the Liceo Musicale, Bologna, then as director of the Liceo Musicale (later Conservatory) of Turin and professor of operatic studies at the Conservatorio di San Cecilia, Rome. As a composer, he speacialized in opera but also produced ballets, orchestral, chamber, instrumental and vocal works. He is best known for having completed Puccini’s "Turandot." Symphony No. 1 in E major "Classica" (1908-10) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 2) CPO 777080 (2005) Symphony No. 2 in C major (1931-2) Israel Yinon/Brandenburg State Orchestra, Frankfurt ( + Symphony No. 1) CPO 777080 (2005) ANTONIÓ VICTORINO D'ALMEIDA (b.1940, PORTUGAL) Born in Lisbon.. He was a student of Campos Coelho and graduated from the Superior Piano Course of the National Conservatory of Lisbon. He then studied composition with Karl Schiske at the Vienna Academy of Music. He had a successful international career as a concert pianist and has composed prolifically in various genres including: instrumental piano solos, chamber music, symphonic pieces and choral-symphonic music, songs, opera, cinematic and theater scores. -
R. Larry Todd, Discovering Music Audio Credits Part I Chapter 3
R. Larry Todd, Discovering Music Audio Credits Part I Chapter 3 Listening Map 1: “The Young Person’s Guide to the Orchestra, Op. 34” Composed By: Benjamin Britten Performed By: London Symphony Orchestra, Steuart Bedford Chapter 6 Listening Map 2: “The Stars and Stripes Forever” Composed By: John Philip Sousa Performed By: Royal Artillery Band, Keith Brion Part II Chapter 8 Listening Map 3: “Viderunt Omnes” Composed By: Anonymous Performed By: CantArte Regensburg, Hubert Velten Chapter 9 Listening Map 4 “O viridissima virga” Composed By: Hildegard Von Bingen Performed By: Oxford Camerata, Jeremy Summerly Chapter 10 Listening Map 5 “Viderunt Omnes” Composed By: Leonin Performed By: Tonus Peregrinus, Antony Pitts Chapter 11 Additional Audio, Page 81 “A chantar m'er de so qu'ieu non volria” Composed By: La Comtesse de Die Performed By: Mara Kiek, Sinfonye Chapter 12 Listening Map 6 “Songs from Le Voir Dit: Rondeau 18: Puis qu’en oubli” Composed By: Guillaume Machaut Performed By: Oxford Camerata, Jeremy Summerly Listening Map I.1 “Jula Jekere” Performed By: Foday Musa Suso Recorded By: Verna Gillis Part III Chapter 14 Listening Map 7 “Se la face ay pale” Composed By: Guillaume Dufay Performed By: The Binchois Consort, Andrew Kirkman Chapter 15 Listening Map 8 “Ave Maria” Composed By: Josquin des Prez Performed By: Oxford Camerata, Jeremy Summerly Chapter 16 Listening Map 9 “Missa Papae Marcelli, “Pope Marcellus Mass”: Kyrie” Composed By: Giovanni Pierluigi da Palestrina Performed By: Oxford Camerata, Jeremy Summerly Chapter 17 Additional Audio, Page 114 “Moro, lasso, al mio duolo” Composed By: Carlo Gesualdo Performed By: Musicae Delitiae, Marco Longhini Listening Map 10 “As Vesta was, from Latmos hill descending” Composed By: Thomas Weelkes Performed By: Sarum Consort, Andrew Mackay Chapter 18 Listening Map 11 “Pavana and Galiarda in F Major, No.