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Tallinn – Tel Aviv Estonian – Israeli Music Festival February 20-24, 2014 HATACHANA – the new station compound in Tel Aviv, Hangar 4 For the first time in Israel - the International MustonenFest trademark, founded and directed by conductor and violinist Andres Mustonen: a multi-disciplinary music festival bringing together the biggest musicians from Estonia with Israel's hottest names in the world of classical music, jazz and world music. התזמורת הסימפונית ירושלים הורטוס מוזיקוס אנדרס מוסטונן קלייר מגנאג'י רקדני סוזן דלל אנסמבל אתי בן זקן ירון גוטפריד טולה קאן טאנל רובן טאלה יוקס יורם לכיש Thursday, February 20th Saturday, February 22nd Sunday, February 23rd 8:30 p.m. 11:30 a.m. 8:30 p.m. A symphonic Overture LET’S DANCE! BEL CANTO Works of Händel, Mozart, Mahler An open concert for the entire family Madrigals and Italian love songs from and Symphony nr 3 by Arvo Pärt Dancing through the centuries, from the 17th century by Monteverdi MC Avigail Arenhaim baroque to rock, from Lully to Led Estonian National Opera soloists: Teele Zeppelin. Accompanied by dance Jerusalem Symphony Orchestra, IBA Jõks, soprano; Helen Lokuta, mezzo- improvisation. soprano; Pavlo Balakin, bass Andres Mustonen, conductor; Helen MC: Nitza Shaul Lokuta, mezzo-soprano (Estonia) Hortus Musicus Ensemble Hortus Musicus Ensemble directed Claire Meghnagi, soprano by Andres Mustonen (Estonia), String Friday, February 21st Quartet, Suzanne Dellal Dancers. 9:00 p.m. JOINT JAZZ FORCES nd Jazz adaptations to works of Bach Saturday, February 22 Monday, February 24 and his contemporaries. 8:30 p.m. 8:30 p.m. MC: Dubi Lenz NORDIC NIGHT DREAM Universal Harmony Art-Jazz Quartet with Andres Traditional Nordic melodies in modern, A festive and cosmopolitan show in Mustonen, violin (Estonia) alternative and meditative styles honor of Estonia’s Independence Day. Ethnic-inspired music from India, Yaron Gottfried Trio; pianists Anat Fort From Estonia: Andres Mustonen, violin; Egypt, Estonia, Turkey and the Balkans, and Itamar Carmeli Jaak Sooäär, guitar; alongside folk songs in Hebrew, Arabic, Itamar Carmeli, piano Tuule Kann, kannel; Taavo Remmel, Yiddish, Ladino, Armenian, German, bass and computers; English, Italian and more! Friday 21.2 and Monday 24.s Tanel Ruben, percussion; The Etty Ben-Zaken Ensemble , 10:30 p.m. - “Station Cafe“ And Yoram Lachish – oboe, English Art-Jazz Quartet and Hortus Musicus horn and wind instruments from Ensemble, directed by Andres Join us after the concert for a jam different cultures session with the festival’s artists Mustonen, and Soloists from Estonia For tickets: EVENTIM Tel *9066 or online: www.eventim.co.il/tallinntlv For more information: 054-4352353 Tallinn-Tel Aviv Festival was made possible thanks to the generous support of the Tallinn Municipality and the Estonia Ministry of Culture www.mustonenfest.com Tallinn - Tel Aviv Festival.

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Thesis October 11,2012
Demystifying Galina Ustvolskaya: Critical Examination and Performance Interpretation. Elena Nalimova 10 October 2012 Submitted in partial requirement for the Degree of PhD in Performance Practice at the Goldsmiths College, University of London 1 Declaration The work presented in this thesis is my own and has not been presented for any other degree. Where the work of others has been utilised this has been indicated and the sources acknowledged. All the translations from Russian are my own, unless indicated otherwise. Elena Nalimova 10 October 2012 2 Note on transliteration and translation The transliteration used in the thesis and bibliography follow the Library of Congress system with a few exceptions such as: endings й, ий, ый are simplified to y; я and ю transliterated as ya/yu; е is е and ё is e; soft sign is '. All quotations from the interviews and Russian publications were translated by the author of the thesis. 3 Abstract This thesis presents a performer’s view of Galina Ustvolskaya and her music with the aim of demystifying her artistic persona. The author examines the creation of ‘Ustvolskaya Myth’ by critically analysing Soviet, Russian and Western literature sources, oral history on the subject and the composer’s personal recollections, and reveals paradoxes and parochial misunderstandings of Ustvolskaya’s personality and the origins of her music. Having examined all the available sources, the author argues that the ‘Ustvolskaya Myth’ was a self-made phenomenon that persisted due to insufficient knowledge on the subject. In support of the argument, the thesis offers a performer’s interpretation of Ustvolskaya as she is revealed in her music.
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Ivo Sillamaa 60
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