PROKOFIEV Alexander Nevsky (Cantata)
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History 251 Medieval Russia
Medieval Russia Christian Raffensperger History 251H/C - 1W Fall Semester - 2012 MWF 11:30-12:30 Hollenbeck 318 Russia occupies a unique position between Europe and Asia. This class will explore the creation of the Russian state, and the foundation of the question of is Russia European or Asian? We will begin with the exploration and settlement of the Vikings in Eastern Europe, which began the genesis of the state known as “Rus’.” That state was integrated into the larger medieval world through a variety of means, from Christianization, to dynastic marriage, and economic ties. However, over the course of the twelfth and thirteenth centuries the creation of the crusading ideal and the arrival of the Mongols began the process of separating Rus’ (becoming Russia) from the rest of Europe. This continued with the creation of power centers in NE Russia, and the transition of the idea of empire from Byzantium at its fall to Muscovy. This story of medieval Russia is a unique one that impacts both the traditional history of medieval Europe, as well as the birth of the first Eurasian empire. Professor: Christian Raffensperger Office: Hollenbeck 311 Office Phone: 937-327-7843 Office Hours: MWF 9:00–11:00 A.M. or by appointment E-mail address: [email protected] Assignments and Deadlines The format for this class is lecture and discussion, and thus attendance is a main requirement of the course, as is participation. As a way to track your progress on the readings, there will be a series of quizzes during class. All quizzes will be unannounced. -
USAF Counterproliferation Center CPC Outreach Journal #952
Issue No. 952, 28 October 2011 Articles & Other Documents: Featured Article: U.S. Releases New START Nuke Data 1. 'IAEA Report Can Stymie Iran-P5+1 Talks' 2. German Wavers over Sale of Sub to Israel: Report 3. Armenian Nuclear Specialists Move to Iran for Better Life 4. Seoul, US Cautiously Move on 6-Party Talks 5. N. Korea Remains Serious Threat: US Defence Chief 6. Seoul, Beijing Discuss NK Issues 7. Pentagon Chief Doubts N. Korea Will Give Up Nukes 8. U.S.’s Panetta and South Korea’s Kim Warn Against North Korean Aggression 9. Pakistan Tests Nuclear-Capable Hatf-7 Cruise Missile 10. Libya: Stockpiles of Chemical Weapons Found 11. U.S. Has 'Nuclear Superiority' over Russia 12. Alexander Nevsky Sub to Be Put into Service in Late 2012 13. New Subs Made of Old Spare Parts 14. Successful Test Launch for Russia’s Bulava Missile 15. Topol Ballistic Missiles May Stay in Service until 2019 16. U.S. Releases New START Nuke Data 17. Army Says Umatilla Depot's Chemical Weapons Mission Done 18. Iran Dangerous Now, Imagine It Nuclear 19. START Treaty: Never-Ending Story 20. The "Underground Great Wall:" An Alternative Explanation 21. What’s Down There? China’s Tunnels and Nuclear Capabilities 22. Visits Timely and Important 23. Surgical Strikes Against Key Facilities would Force Iran to Face Military Reality 24. KAHLILI: Iran Already Has Nuclear Weapons Welcome to the CPC Outreach Journal. As part of USAF Counterproliferation Center’s mission to counter weapons of mass destruction through education and research, we’re providing our government and civilian community a source for timely counterproliferation information. -
EMR 12029 Alexander Nevsky
Alexander Nevsky Russia under the Mongolian yoke / Arise, you Russian people / The Battle On Ice The Field of the Dead / Alexander’s Entry Into Pskov Wind Band / Concert Band / Harmonie / Blasorchester Arr.: John Glenesk Mortimer Sergeï Prokofiev EMR 12029 st 1 Score 2 1 Trombone + nd 1 Piccolo 2 2 Trombone + 8 Flute 1 Bass Trombone + 1 Oboe (optional) 2 Baritone + 1 Bassoon (optional) 2 E Bass 1 E Clarinet (optional) 2 B Bass st 5 1 B Clarinet 1 Tuba 4 2nd B Clarinet 1 String Bass (optional) 4 3rd B Clarinet 1 Timpani 1 B Bass Clarinet (optional) 1 1st Percussion (Xylophone / Glockenspiel / Snare Drum 1 B Soprano Saxophone (optional) Wood Block) 2 1st E Alto Saxophone 1 2nd Percussion (Cymbals / Bass Drum / Triangle) 2 2nd E Alto Saxophone 1 3rd Percussion (Tam-Tam / Tambourine / Suspended 2 B Tenor Saxophone Cymbal) 1 E Baritone Saxophone (optional) 1 E Trumpet / Cornet (optional) Special Parts 2 1st B Trumpet / Cornet 1 1st B Trombone 2 2nd B Trumpet / Cornet 1 2nd B Trombone 2 3rd B Trumpet / Cornet 1 B Bass Trombone 2 1st F & E Horn 1 B Baritone 2 2nd F & E Horn 1 E Tuba 2 3rd F & E Horn 1 B Tuba Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Cinemagic 39 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Terminator (Fiedel) 5’34 EMR 12074 EMR 9718 2 Robocop 3 (Poledouris) 3’39 EMR 12131 EMR 9719 3 Rio Bravo (Tiomkin) 4’22 EMR 12085 EMR 9720 4 The Poseidon (Badelt) 4’02 EMR 12116 EMR 9721 5 Another Brick In The Wall (Waters) 4’14 EMR 12068 EMR 9722 6 Alexander Nevsky (Prokofiev) 9’48 EMR 12029 - 7 I’m Dreaming Of Home (Rombi) 4’38 EMR 12115 EMR 9723 8 Spartacus (Vengeance) (LoDuca) 4’13 EMR 12118 EMR 9724 9 The Crimson Pirate (Alwyn) 5’08 EMR 12041 EMR 9725 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel. -
History Is Made in the Dark 4: Alexander Nevsky: the Prince, the Filmmaker and the Dictator
1 History Is Made in the Dark 4: Alexander Nevsky: The Prince, the Filmmaker and the Dictator In May 1937, Sergei Eisenstein was offered the opportunity to make a feature film on one of two figures from Russian history, the folk hero Ivan Susanin (d. 1613) or the mediaeval ruler Alexander Nevsky (1220-1263). He opted for Nevsky. Permission for Eisenstein to proceed with the new project ultimately came from within the Kremlin, with the support of Joseph Stalin himself. The Soviet dictator was something of a cinephile, and he often intervened in Soviet film affairs. This high-level authorisation meant that the USSR’s most renowned filmmaker would have the opportunity to complete his first feature in some eight years, if he could get it through Stalinist Russia’s censorship apparatus. For his part, Eisenstein was prepared to retreat into history for his newest film topic. Movies on contemporary affairs often fell victim to Soviet censors, as Eisenstein had learned all too well a few months earlier when his collectivisation film, Bezhin Meadow (1937), was banned. But because relatively little was known about Nevsky’s life, Eisenstein told a colleague: “Nobody can 1 2 find fault with me. Whatever I do, the historians and the so-called ‘consultants’ [i.e. censors] won’t be able to argue with me”.i What was known about Alexander Nevsky was a mixture of history and legend, but the historical memory that was most relevant to the modern situation was Alexander’s legacy as a diplomat and military leader, defending a key western sector of mediaeval Russia from foreign foes. -
Boris Godunov
Boris Godunov and Little Tragedies Alexander Pushkin Translated by Roger Clarke FE<NFIC; :C8JJ@:J ONEWORLD CLASSICS LTD London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.oneworldclassics.com Boris Godunov first published in Russian in 1831 The Mean-Spirited Knight first published in Russian in 1836 Mozart and Salieri first published in Russian in 1831 The Stone Guest first published in Russian in 1839 A Feast during the Plague first published in Russian in 1832 This translation first published by Oneworld Classics Limited in 2010 English translations, introductions, notes, extra material and appendices © Roger Clarke, 2010 Front cover image © Catriona Gray Printed in Great Britain by MPG Books, Cornwall ISBN: 978-1-84749-147-3 All the material in this volume is reprinted with permission or presumed to be in the public domain. Every effort has been made to ascertain and acknowledge the copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Boris Godunov 1 Introduction by Roger Clarke 3 Boris Godunov 9 Little Tragedies 105 Introduction by Roger Clarke 107 The Mean-Spirited Knight 109 Mozart and Salieri 131 The Stone Guest 143 A Feast during the Plague 181 Notes on Boris Godunov 193 Notes on Little Tragedies 224 Extra Material 241 Alexander Pushkin’s Life 243 Boris Godunov 251 Little Tragedies 262 Translator’s Note 280 Select Bibliography 282 Appendices 285 1. -
Elena Ulyanova – Biography
Piano Jack Price Founding Partner / Managing Director Marc Parella Partner / Director of Operations Brenna Sluiter Marketing Operations Manager Karrah Cambry Opera and Special Projects Manager Mailing Address: 520 Geary Street Suite 605 San Francisco CA 94102 Telephone: Contents: Toll-Free 1-866-PRI-RUBI (774-7824) 310-254-7149 / Los Angeles Biography 415-504-3654 / San Francisco Reviews & Testimonials Skype: pricerubent | marcparella Repertoire Email: Short Notice Concertos [email protected] CD/DVDs [email protected] Recordings Curriculum Vitae Website: http://www.pricerubin.com Complete artist information including video, audio Yahoo!Messenger and interviews are available at www.pricerubin.com pricerubin Elena Ulyanova – Biography Praised as "a phenomenal, gifted performer" by Roy Gillinson of the Beethoven Society of America, Elena Ulyanova is a pianist whose style runs the gamut of power, strength, and technique to a delicate, floating elegant finesse. Hailed by the Moscow Conservatory as one of their most gifted musicians, her Professor Victor Merzhanov noted that she possesses "Great virtuosity, brilliant artistic temperament, unique interpretive expression and a rich sound pallet." At the age of 5, Elena Ulyanova began to study piano with her mother, Larisa Ulyanova, in Saki, Ukraine. After winning several first prizes in Ukrainian and Russian competitions, she was awarded full scholarships for study in Moscow at Gnessin College of Music, Gnessin Academy of Music, and Moscow Tchaikovsky Conservatory. While at Gnessin Academy, she won the Momontov competition, which also resulted in tours of Russia, Bulgaria, and Romania. She was also awarded a tour of Austria, along with the best students representing Gnessin Academy, which included Alexander Kobrin. -
Russia in the Accounts of Sixteenth-Century English Voyagers, Ed
Rude and Barbarous Kingdom: Russia in the Accounts of Sixteenth-Century English Voyagers, ed. Lloyd E. Berry and Robert O. Crummey, Madison, Milwaukee and London: University of Wisconsin Press, 1968. xxiii, 391 pp. $7.50. This attractively-presented volume is yet another instance of the work of publishers in making available in a more accessible form primary sources which it was hitherto necessary to seek among dusty collections of the Hakluyt Society publications. Here we have in a single volume accounts of the travels of Richard Chancellor, Anthony Jenkinson and Thomas Randolph, together with the better-known and more extensive narrative contained in Giles Fletcher's Of the Russe Commonwealth and Sir Jerome Horsey's Travels. The most entertaining component of this volume is certainly the series of descriptions culled from George Turberville's Tragicall Tales, all written to various friends in rhyming couplets. This was apparently the sixteenth-century equivalent of the picture postcard, through apparently Turberville was not having a wonderful time! English merchants evidently enjoyed high favour at the court of Ivan IV, but Horsey's account reflects the change of policy brought about by the accession to power of Boris Godunov. Although the English travellers were very astute observers, naturally there are many inaccuracies in their accounts. Horsey, for instance, mistook the Volkhov for the Volga, and most of these good Anglicans came away from Russia with weird ideas about the Orthodox Church. The editors have, by their introductions and footnotes, provided an invaluable service. However, in the introduction to the text of Chancellor's account it is stated that his observation of the practice of debt-bondage is interesting in that "the practice of bondage by loan contract did not reach its full development until the economic collapse at the end of the century and the civil wars that followed". -
The End of Boris. Contribution to an Aesthetics of Disorientation
The end of Boris. ConTriBuTion To an aesTheTiCs of disorienTaTion by reuven Tsur The Emergence of the Opera–An Outline Boris Godunov was tsar of russia in the years 1598–1605. he came to power after fyodor, the son of ivan the terrible, died without heirs. Boris was fyodor's brother-in-law, and in fact, even during fyodor's life he was the omnipotent ruler of russia. ivan the Terrible had had his eldest son executed, whereas his youngest son, dmitri, had been murdered in unclear circumstances. in the 16–17th centuries, as well as among the 19th-century authors the prevalent view was that it was Boris who ordered dmitri's murder (some present-day historians believe that dmitri's murder too was ordered by ivan the Terrible). in time, two pretenders appeared, one after the other, who claimed the throne, purporting to be dmitri, saved miraculously. Boris' story got told in many versions, in history books and on the stage. Most recently, on 12 July 2005 The New York Times reported the 295-year-late premiere of the opera Boris Goudenow, or The Throne Attained Through Cunning, or Honor Joined Happily With Affection by the German Baroque composer Johann Mattheson. Boris' story prevailed in three genres: history, tragedy, and opera. in the nineteenth century, the three genres culminated in n. M. Karamzin's monumental History of the Russian State, in alexander Pushkin's tragedy Boris Godunov, and in Modest Mussorgsky's opera Boris Godunov. each later author in this list liberally drew upon his predecessors. in her erudite and brilliant 397 reuven tsur the end of boris book, Caryl emerson (1986) compared these three versions in a Pimen interprets as an expression of the latter's ambition. -
Stéphane Denève, Conductor Yefim Bronfman, Piano Clémentine
Stéphane Denève, conductor Friday, February 15, 2019 at 8:00pm Yefim Bronfman, piano Saturday, February 16, 2019 at 8:00pm Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director PROKOFIEV Cinderella Suite (compiled by Stéphane Denève) (1940-1944) (1891-1953) Introduction Pas-de-chale Interrupted Departure Clock Scene - The Prince’s Variation Cinderella’s Arrival at the Ball - Grand Waltz Promenade - The Prince’s First Galop - The Father Amoroso - Cinderella’s Departure for the Ball - Midnight PROKOFIEV Piano Concerto No. 2 in G minor, op. 16 (1913) Andantino; Allegretto; Tempo I Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso Yefim Bronfman, piano INTERMISSION 23 PROKOFIEV Alexander Nevsky, op. 78 (1938) Russia under the Mongolian Yoke Song about Alexander Nevsky The Crusaders in Pskov Arise, ye Russian People The Battle on the Ice The Field of the Dead Alexander’s Entry into Pskov Clémentine Margaine, mezzo-soprano St. Louis Symphony Chorus Amy Kaiser, director ACKNOWLEDGMENTS The 2018/2019 Classical Series is presented by World Wide Technology and The Steward Family Foundation. Stéphane Denève is the Linda and Paul Lee Guest Artist. Yefim Bronfman is the Carolyn and Jay Henges Guest Artist. The concert of Friday, February 15, is underwritten in part by a generous gift from Sally S. Levy. The concert of Saturday, February 16, is underwritten in part by a generous gift from Ms. Jo Ann Taylor Kindle. The St. Louis Symphony Chorus is underwritten in part by the Richard E. Ashburner, Jr. Endowed Fund. The St. Louis Symphony Chorus is underwritten in part by the Edward Chase Garvey Memorial Foundation. -
17 Infidel Turks and Schismatic Russians in Late Medieval Livonia
Madis Maasing 17 Infidel Turks and Schismatic Russians in Late Medieval Livonia 17.1 Introduction At the beginning of the sixteenth century, political rhetoric in Livonia was shaped by the threat posed by an alien power: Following a significant deterio- ration in the relations between the Catholic Livonian territories and their mighty Eastern Orthodox neighbour – the Grand Duchy of Moscow – war broke out, lasting from 1501 to 1503, with renewed armed conflict remaining an immi- nent threat until 1509. During this period of confrontation, and afterwards, the Livonians (i.e., the political elite of Livonia) fulminated in their political writ- ings about the gruesome, schismatic, and even infidel Russians, who posed a threat not only to Livonia, but to Western Christendom in general. In the Holy Roman Empire and at the Roman Curia, these allegations were quite favoura- bly received. Arguably, the Livonians’ greatest success took the form of a papal provision for two financially profitable anti-Russian indulgence campaigns (1503–1510). For various political reasons, the motif of a permanent and general ‘Russian threat’ had ongoing currency in Livonia up until the Livonian War (1558–1583). Even after the collapse of the Livonian territories, the Russian threat motif continued to be quite effectively used by other adversaries of Mos- cow – e.g., Poland-Lithuania and Sweden. I will focus here first and foremost on what was behind the initial success of the Russian threat motif in Livonia, but I will also address why it persisted for as long as it did. A large part of its success was the fact that it drew upon a similar phenomenon – the ‘Turkish threat’,1 which played a significant role in the political rhetoric of Early Modern Europe, especially in south-eastern 1 This research was supported by the Estonian Research Council’s PUT 107 programme, “Me- dieval Livonia: European Periphery and its Centres (Twelfth–Sixteenth Centuries)”, and by the European Social Fund’s Doctoral Studies and Internationalization Programme DoRa, which is carried out by Foundation Archimedes. -
570452 Bk Karlowicz EU
572190 bk Kletzki 31/12/09 20:28 Page 5 Joseph Banowetz Russian Philharmonic Orchestra Paul GRAMMY® nominated American pianist Joseph Banowetz The Russian Philharmonic Orchestra is firmly rooted in Russia’s rich musical traditions, and has achieved an has been heard as recitalist and orchestral soloist on five impressive and outstanding musical quality by drawing its musicians from the highest ranks of Russia’s most KLETZKI continents, with performances with such orchestras as the St famous orchestras such as the Moscow Radio Symphony Orchestra, the Russian National Orchestra and the State Petersburg Philharmonic, the Moscow State Symphony, the Symphony Orchestra. The Russian Philharmonic Orchestra was originally formed as a recording ensemble and has Prague and Bratislava Radio Orchestras, the Budapest gone on to receive high acclaim also for its concert performances. In addition to regular recordings for leading Symphony, the Barcelona Concert Society Orchestra, the international companies, the orchestra has also undertaken tours to Turkey, Austria, Germany, China, Taiwan, Piano Concerto New Zealand Symphony (on a twelve-concert national Finland and elsewhere. Dmitry Yablonsky was appointed Music Advisor to the orchestra in 2003. In 2006 the tour), the Beijing National Philharmonic, the Shanghai orchestra won a Gramophone Prize for their recording of Shostakovich on Deutsche Grammophon. Symphony, the Hong Kong Philharmonic, and the Seoul Three Preludes • Three Piano Pieces • Fantasie Philharmonic. In December 2007 Banowetz’s recording of Balakirev’s works received two official GRAMMY® Thomas Sanderling nominations. His recordings have been given wide critical Joseph Banowetz, Piano acclaim, including Fanfare (U.S.) describing Banowetz as Thomas Sanderling grew up in St Petersburg, where his “a giant among keyboard artists of our time”. -
Eisenstein's "Ivan the Terrible, Part II" As Cultural Artifact Beverly Blois
Eisenstein's "Ivan The Terrible, Part II" as Cultural Artifact Beverly Blois In one of the most famous Russian paintings, Ilya Repin's "Ivan the Terrible with his murdered son," an unkempt and wild-eyed tsar clutches his expiring son, from whose forehead blood pours forth. Lying beside the two men is a large staff with which, moments earlier, Ivan had in a fit of rage struck his heir-apparent a mortal blow. This was a poignant, in fact tragic, moment in the history of Russia because from this event of the year 1581, a line of rulers stretching back to the ninth century effectively came to an end, ushering in a few years later the smutnoe vermia ("time of trouble") the only social crisis in Russian history that bears comparison with the revolution of 1917. Contemporary Russians tell an anekdot about this painting in which an Intourist guide, leading a group of Westerners rapidly through the rooms of the Tretiakov Gallery in Moscow, comes to Repin's canvas, and wishing, as always, to put the best face on things, says, "And here we have famous painting, Ivan the Terrible giving first aid to his son." The terribilita of the sixteenth century tsar had been modernized to fit the needs of the mid-twentieth century. Ivan had been reinterpreted. In a similar, but not so trifling way, Sergei Eisenstein was expected to translate the outlines of Ivan's accomplishments into the modern language of socialist realism when he was commissioned to produce his Ivan films in 1941. While part one of his film, released in 1945, won the Stalin Prize, First Class, part two, which was very dose to release in 1946, was instead withheld.