20Th-Century Repertory

Total Page:16

File Type:pdf, Size:1020Kb

20Th-Century Repertory Mikrokosmos List 587. - 2 - June 2014 ....20TH-CENTURY REPERTORY 1 Ain, Noa: Used To Call Me (Matsua vln)/Chabade: Echoes (Williams perc)/McMillan: FOLKWAYS FTS 33904 A 30 Whale I, etc/Mumma: Cybersonic/Ussachevsky: Conflict (electronics) (New Amarican Music 4) (1975) S 2 Andriessen, Jurriaan: Sym 3 - Frysk Orch, cond.A.Salten (side 2 is Potpourri of CCF 111031 A 100 Frisian folksongs) (1963) 3 Artemiev: Picture-Moods - Bogdanov synthesizer, USSR Cinematography SO, MELODIYA C10 21077 A 25 cond.Serebyakov 1976-83 S 4 Ashley, Robert: Automatic Writing (electronics) (1979) S LOVELY MUS VR 1002 A 35 5 Ashley, Robert: Perfect Lives (Private Parts) (an opera in 7 episodes); The Bar S LOVELY MUS VR 4904 A 30 6 Ashley, Robert: Sonata/Harmonic, Phil: Timing/P.DeMarinis: Great Masters of LOVELY MUS VR 1062 A 15 Melody/J.Bischoff: Rendezvous - "Blue" Gene Tyranny 1978 S 7 Babadzhanyan: Piano Trio/Galunin: Piano Trio - Bondaryanski, V.Ivanov, Utkin MELODIYA C10 14923 A 20 1980 S 8 Bacewicz: Musica sinfonica/ Dobrowolski/ Moszumanska-Nazar: Hexaedre/ Kilar: MUZA XW 567 A 15 Sonnet - cond.Rowicki Warsaw Autumn, 1965 (damaged label at the back jacket) 9 Bacon, Ernst: Tumbleweeds; Buncombe County, North Carolina/Bartok: Hungarian ORION ORS 84465 A 15 Folk Songs/Nin: Chants d'Espagne - Dorothy Bales vln, A.Sly pno S 10 Ballif, Claude: Un Coup de Des (1981) - cond.Jouineau (gatefold) 1981 S HARMONIA M HM 5141 A 12 11 Baranovic, Kresimir: Oda Ovnoj-u, 2 Cantatas - Bakocevic, Mitic, cond.Surev RTB LPV 2425 A 15 12 Basho, Robbie: The Grail & The Lotus - comp.guitar (1966) TAKOMA C 1007 A 25 13 Behrman, David: Figure in a Cleaning, On the Other Ocean (electronic music) (1977) LOVELY MUS LML 1041 A 30 S 14 Bernstein, Elmer: Miracle, Toccata for Toy Train (film music) - cond.comp. (1975) S FILMMUSIC FMC 2 A 12 15 Bernstein: Chichester Psalms, Facsimilie - New York PO, cond.comp (UK) S CBS SBRG 72374 A 10 16 Bjelinski, Bruno: Cl Con/B.Papandopulo: Cl Quintet - Nochta cl, etc S JUGOTON LSY 61152 A 12 17 Bjelinski, Bruno: Piano Concerto, Candomble, Sym 5 - cond.Nanut, Daniel, Gjadrov JUGOTON LSY 66022 A 15 S 18 Blackwood, Easley: 12 Microtonal Etudes for Electronic Music Media (1980) S EASLEY BLA E 639 A 30 19 Bodley, Seoirse: Sym 3/A.J.Potter: Sinfonia de Profundis - RTE SO, cond.C.Perace RTE 61 A 20 (minor jacket damage) (1981) S 20 Boesmans, Philippe: Intervalles III, Intrusion, Element-Extensions - Ross pno, MUSICA MAG MAG 50024 A 20 Mefano gtr, cond.Bartholomee, Octors (gatefold) (1978) S 21 Bogoslovsky: Sym 4 & 5 - cond.Ponkin 1983 S MELODIYA C10 19339 A 12 22 Boiko: Vasily Terkin oratorio - Zhuravlev, Andreyeva, Maksimenko, MELODIYA C10 5285 A 15 cond.E.Khachaturian S 23 Boulez: Sonatina (fl, pno)/Webern: Trios Op.20, 4 Little Pcs Op.7 (vln, pno), 3 Little EMI C061 10914 A 12 Pcs (vcl, pno), String Trio Op.posth/Schoenberg: Trio Op.45 - French String Trio, Debost fl, Ivaldi pno S 24 Bozic, Darijan: Trumpet Con/M.Stibilj: Congruences for Pno & Orch/I.Petric: JUGOTON LPY-V 680 A 15 Croquis Sonores/Skebotnjak: Micro-Songs - cond.Bozic, Hubad, etc 25 Brant, Henry: Vuur Onder Water, Crossing the Bridge Before You Come to BVHAAST 52 A 18 It/Snyder, Amy: Ozark Brush Meeting - Pacific North Sea Musicians, Gijsbrecht van Aemstelkwartet 1983-4 S 26 Bravnicar, Matija: Vln Con, Sym Antiteza, King Matja (sym prel) - Bravnicar vln, RTV LD 380 A 25 cond.Horvat, Surbek, Hubad S 27 Bulterijs, Nini: Pno Trio/I.Ceulemans: Quartetto Per Clarinetti/A.Delvaux: Con for ALPHA DBM-V 187 A 15 Fl, Ob, Cl, Bsn & Chamber Orch - Bell'Arte Trio, etc (gatefold) S 28 Cage, John: Cartridge Music (perf by Cage & Tudor)/Wolff, Christian: Duo; Summer; TIME S 8009 A 20 Duet II (K.Kobayashi vln, D, Tudor pno, M.Raimondi, S.Trampler, H.Hillyer, etc) (gatefold) S 29 Cage: 2nd Construction/Cowell: Pulse/Lundquist: Sisu/Taira: Hierophonie - BIS LP 232 A 15 Kroumata Perc Ens (gatefold) 1983 S 30 Cage: 3rd Construction/Reich: Music for Pieces of Wood/ B.Mather: Clos de NEXUS NE 5 A 12 Vougeot/W.Cahn: Changes - Nexus Ens 1982 S 31 Cage: Sixteen Dances - New Music Concerts, cond.Zukofsky 1982 S CP2 15 A 25 32 Campo, Frank: Quintetto Vicentina; Fantasy (vln, pf)/Kohn, Karl: Reflections (cl, pf); KLAVIER KD 7033 A 12 San Gabriel Set - Almont Ens (1986) S 33 Carmines, Al: Christmas Rapping - Judson Poets'Theatre Chorus, cond.D.Wagoner 2 x CAAZ JU 1002 A 25 (gatefold) (1979) S 34 Carpenter, John Alden: Gitanjali, Water-Colors (song cycles) - A.Mock sop, S.Boyes CLAREMONT CR 1206 A 15 pno 35 Chaynes: Piano Con, Organ Con - Loriod, Alain, cond.Baudo (gatefold) S ERATO STU 70451 A 10 FB2 36 Chowning, John: Stria/Risset, Jean-Claude: Songes/Harvey, Jonathan: Mortuos IRCAM 1 A 35 Plango, Vivos Voco/Machover: Soft Morning, City!/Maiguashca: Fmelodies/Y.Holler: Resonance - cond.Eotvos 1983 S 37 Cipra, Milo: SQ 4/Vukdrakovic: SQ in a - Zagreb SQ JUGOTON EPY-V 637 A 10 38 Clozier, Christian: Quasars (suite electronique) 1980 (gatefold) S LC CHANT DU M LDX 78714 A 35 39 Collins, Nicolas: Let the State Meka the Selection (electronic pieces) (1984) S LOVELY MUS VR 1712 A 40 40 Corea, Chick: Delphi 1 (improvisations) - comp.pno 1978 S POLYDOR PD1 6208 A 20 41 Corea, Chick: Fantasy for 2 Pianos - F.Gulda, C.Corea (45 prm) S TELDEC 6620271 A 20 June 2014 - 3 - Mikrokosmos List 587. 42 Cranmer, Philip: Lloyd George knew my father, They never will B.Mus, Why was he ISM LP 1 A 12 born so beautiful (sop, ca, ten, bass, vcl) - cond.& hrpschrd comp (single sided) (UK) (1972) S 43 Crumb: Makrokosmos I & II - R.Nasveld pno 1984 S ATTACCA BABEL 85283 A 12 44 Curran, Alvin: For Cornelius (pno); Era Ora (2 pnos) - U.Oppens, F.Rzewski pno NEW ALBION NA 11 A 20 1986 S 45 Debussy: Saxophone Rhap (De Vries); Clair de Lune; Fant for Pno & Orch (Schultes) - LYRICHORD LL 38 A 10 cond.Kloss (spines taped) 46 Decoust, Michel: Sinfonietta, Releve d'Esquisse, Le Cygne - Artaud fl, Jarsky vocal, HARMONIA M HMC 5152 A 12 cond.Reibel (gatefold) 1984 S 47 Defossez, Rene: Caprices de ma poupee/Delvaux, Berthe di Vito: La Chamelle a BUFFET CRA B.C.B. 101 A 30 Marier/Francaix: Quatuor/Dubois: Quatuor/Rivier: Concerto Sax, Tpt & Pf - Rondo Quartet, Belgian Sax Quartet 48 Detoni, Dubravko: Graphies 1-3; Phonomorphia 1-3 (chor, inst, tape) - Zagreb SQ, PHILIPS 6521028 A 30 Klobucar organ, comp.pno & cond. (parly electronic) (green label) S 49 Distler, Hugo: Morike-Chorliederbuch - Kucharski, cond.Wolters (gatefold) (spine DGG LPM 18402 A 15 GY2 taped) 50 Dlugoszewski: Angels (winds)/Fulkerson: Patterns II, VII (gtr)/C.Moore: Youth (intr FOLKWAYS FTS 33902 A 15 ens)/Silverman: Planh (Ch Con for Gtr) (New American Music 2) S 51 Dobrowolski, Jan Fryderyk: Acropolis, Peristyles, Tepidarium, Laconicum - comp. MUZA SXL 951 A 15 pno S 52 Dostal, Nico: Frohlisches Spiel, Spanish Sketches, Wiener Erinnerungen, Blues Fant, EURODISC 31534 A 10 Im meinem Bergen, Ein Mond - Berlin PO, cond.comp 1979 S 53 Dreyblatt, Arnold: The Orchestra of Excited Strings - Dreyblatt, Hauenstein, Phillips, INDIA NAVI IN 3024 A 40 Hill, G.Lewis S 54 Duke, Lewis Byron: Vln Sonata 4, Op.21 - Stanley Plummer vln, Irma Vallecillo pno BYRON PUBL L 5 A 30 S 55 Durlet, Emmanuel: Piano Works - E.Rodrigues, C.Muller, L.Devos, N.Hill (1987) EMI A065 2706291 A 20 (gatefold) S 56 Egiazaryan: Sevan ballet suite 1, 2 - cond.Maluntsian 1956 MELODIYA HD 3086 A 12 57 Ellington, Duke: Three Black Kings; New World a'Comin; The River - Warsaw PO, 2 x THE FROG B TFB 100 A 40 Duke Ellington Orch, cond.M.Ellington (gatefold) S 58 Ephros, Gershon: Uvashofor Godol, Ovos, Pno Variations, Introduction, Andante & TIKVA T 70 A 12 Fugue (SQ) - L.Brown pno, Kohon SQ, M.Ganchoff, etc (autographed by Ephros) 59 Falik: Mourning Music for Stravinsky; Concerto da Passione - Gutman vcl, MELODIYA C10 30345 A 12 cond.Rozhdestvensky, Dmitriev 1978, 1989 S 60 Fawick, Thomas: Musicale 1967: Forward March, Setting for Vla & Pno, 3 Preludes, PRIDE 1967 A 18 Rhumba, etc - T.& S.Harth vln & pno, US Marine Band (jacket worn a bit) 61 Fawick, Thomas: Musicale 1969: Pieces for 2 Vlns, Vln & Pno, Solo Vln) - T.& PRIDE 1969 A 20 S.Harth vln & pno S 62 Feldman, Morton: Rothko Chapel (Phillips vla, Holland perc, cond.G.Smith), For COLUMBIA Y(P) 34138 A 18 Frank O'Hara (cond.J.Williams) (white promo label) S 63 Feldman, Morton: 8 Pieces - Tudor, Sherman, Hymovitz, Rabushka, Trampler, etc S COLUMBIA MS6EYE 6090 A 28 UA1 64 Feldman: Durations/E.Brown: Music for Vln, Vcl & Pno, Music for Vcl & Pno, TIME S 8007 A 20 Hodograph I - Raimondi vln, Tudor pno, Hammond fl, etc (gatefold) S 65 Foss, Lukas: A Parable of Death - cond.comp (red vinyl) EDUCO ECM 4002 A 20 66 Francaix: 15 Children's Portraits from A.Renoir/Arensky: 3 Children's Pieces/Barab, EDUCO 3147 A 15 Seymour: Alice, a Cabaret Alstadter, Sherman pnos, M.Lutzke vcl 67 Fulkerson, James: Co-Ordinative System No.10 (trombone, tape), Music for Brass IRIDA IR 17 A 40 Intr II, Antiphonies & Streams, Suite for Solo Cello - Hopkins vcl, comp.trombone (1980) S 68 Furst, Paul Walter: Konzertante Musik/Einem: WQ Op.46/ H.Eder: Quintett/ DGG 2531115 A 18 M.Rubin: Serenade - Wiener Blaserquintett (1978) S 69 Gabeli, Iraki: Sym 1, Antiphons (Gudkova synthesizer, cond.Kitayenko); A Show, MELODIYA C10 23983 A 12 1765 for fl (Korneyev fl, I.Schnittke hrpschrd, pno) 1981, 1985 S 70 Gagic, Bogdan: Sym, Pno Con 2, 3 Pno Sonatas, L'Ete de Nuit - Krpan, comp pno, JUGOTON LSY 66046 A 20 Novsak-Houska ca, cond.Kuljeric S 71 Gassmann, Remi: Electronics/O.Sala: 5 Improvisations on Mag Tape S WESTMINSTE WST 14143 A 20 72 Gilbert, Michael William: Moving Pictures (electronic music) (1978)
Recommended publications
  • Listen Carefully
    1 Listen Carefully Ellen Foyn Bruun1 Norwegian University of Science and Technology NTNU, Drama and Theatre Studies Abstract Voice and sounding is an integrated element in dramatherapy, as in acting and life in general. In this article I reflect on voicework that focuses on the intimate relationship between breathing, sounding and an embodied sense of self. The notion of listen carefully emphasises the receptive aspect of arts practice and introversion as a foundation for authentic and healthy expression. I address ‘the presence of absence’ and our ability to listen with awareness to what is implicit and not yet made conscious. I have been inspired by feminist philosopher Adriana Cavarero who proposes a philosophy of voice that challenges logo-centric Western philosophical thinking. Her work underpins the relationship between voice and identity. I shall draw from my experience of three different approaches that integrate vocal somatic exploration and a holistic approach to life and health. These are the legacy of Roy Hart and Alfred Wolfsohn, Movement with touch and sound (Sesame), and Fitzmaurice Voicework®. This article caters for a broad professional community that is interested in the field of voice in drama and theatre practice for educational and therapeutic purposes. Key words: dramatherapy, voicework, healthy self-regulation, philosophy of voice, Roy Hart and Alfred Wolfsohn, Sesame approach, Fitzmaurice voicework® Introduction Each individual has their unique way of breathing which for most people enables sounding. As dramatherapists we relate to body, breathing and voice in many ways. This article will present how voicework has become a core field of interest for me as a drama practitioner, teacher, therapist and researcher.
    [Show full text]
  • THENEWYORKER.Pdf
    A 1940 self-portrait of Salomon (1917-1943), whose autobiographical work “Life? or Theatre?” is an early example of the graphic novel. Courtesy the Jewish Historical Museum © Charlotte Salomon Foundation n February, 1943, eight months before she was murdered in Auschwitz, the I German painter Charlotte Salomon killed her grandfather. Salomon’s grandparents, like many Jews, had !ed Germany in the mid-nineteen-thirties, with a stash of “morphine, opium, and Veronal” to use “when their money ran out.” But Salomon’s crime that morning was not a mercy killing to save the old man from the Nazis; this was entirely personal. It was Herr Doktor Lüdwig Grünwald, not “Herr Hitler,” who, Salomon wrote, “symbolized for me the people I had to resist.” And resist she did. She documented the event in real time, in a thirty-"ve-page letter, most of which has only recently come to light. “I knew where the poison was,” Salomon wrote. “It is acting as I write. Perhaps he is already dead now. Forgive me.” Salomon also describes how she drew a portrait of her grandfather as he expired in front of her, from the “Veronal omelette” she had cooked for him. The ink drawing of a distinguished, wizened man—his head slumped inside the collar of his bathrobe, his eyes closed, his mouth a thin slit nesting inside his voluminous beard—survives. Salomon’s letter is addressed, repeatedly, to her “beloved” Alfred Wolfsohn, for whom she created her work. He never received the missive. Nineteen pages of Salomon’s “confession,” as she called it, were concealed by her family for more than sixty years, the murder excised.
    [Show full text]
  • Why Do Singers Sing in the Way They
    Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor.
    [Show full text]
  • JANUAR UND FEBRUAR 2019 02|03 Aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02
    JANUAR UND FEBRUAR 2019 02|03 aktuell EXPLORE DANCE: LUCIA GLASS’ POPUP-STÜCK AUFFÜHRUNGEN | PROJEKTE 06.02. PROBEBÜHNE EINS S. 05 Ab Januar arbeitet die Hamburger Choreographin Lucia Glass im Rahmen von explore dance – Tanzpakt Stadt-Land-Bund als Artist in Residence an der Stadtteilschule MOVING HEADS S. 08 Blankenese. Dort entwickelt sie ihr mobiles und an verschiedensten Orten spielbares 14.01. HANS-JÖRG KAPP | EVA RESCH EXZESSIVE KLANGREDUKTION S. 06 25.01. OMAR RAJEH ZEITGENÖSSISCHER TANZ IM LIBANON PopUp-Stück Die Choreographie der Dinge und Geräusche (AT). Gemeinsam mit S. 10 28.01. ESSENTIALS TRANSITIONPROZESSE IN DER TANZKARRIERE Schüler*innen verschiedener Jahrgangstufen erforscht sie die Wirkung von Gegen- S. 09 11.02. RALF PETERS DIE EXTREME STIMME ständen und ihren Geräuschen auf unsere Bewegung und erprobt die Verbindung S. 07 19.02. ROUND TABLE TANZ MIT SCHULE zwischen zeitgenössischem Tanz, somatischer Körperpraxis und der eigenen Wirk- samkeit auf der Bühne. Premiere wird die Arbeit voraussichtlich Ende April feiern, WORKSHOPS S. 11 17.01. - 23.03. VHS-KURS TANZ IM GESPRÄCH S. 12 pünktlich zu unserem Festival explore dance - Tanz für junges Publikum (Save the 25.01. MASTERCLASS TANZTHEATER WUPPERTAL PINA BAUSCH S. 10 date: 30.04. - 04.05.2019). 29.01. CAROLIN ECKERT TRANSITIONBERATUNG S. 12 EMPOWERING DANCE 01.02. LEHRER*INNENWORKSHOP MOVING GENDER PROFITRAINING S. 13 Vom 09. bis 11.01. findet am K3 das erste intensive Arbeitstreffen des in dieser Spielzeit 14.12.18 - 06.01.19 TRAININGSPAUSE neu im Rahmen des EU-Programmbereichs Erasmus+ gestarteten Forschungsprojekts 07. - 10.01. RAKESH SUKESH PAYATT INTRANSIT Empowering Dance – Developing Soft Skills statt.
    [Show full text]
  • The Deadly Power of the Living Voice
    The Deadly Power of the Living Voice Thorey Sigthorsdottir Sustained Indepented Project MA in Advanced Theatre Practice Central School of Speech and Drama 20th September 2012 ! "! Index 1. The Beginning 2. The Background 3. Methodology 4. The Voice Workshop 5. $%&!'()&*+&,-& 6. The Results Bibliography Appendice A Nadine George. Appendice B Guy Dartnell ! #! 1. The Beginning ‘With these battlefield voices, there was no limitation of range, their voices expressed and screamed terror and agony through every range.’ (Wolfsohn: Braggins: Harrow Times book reviews 10th May 2012) These are the words of Alfred Wolfsohn, describing in writing his experience as a young man, of listening to his fellow soldiers dying in the battlefields of the First World War. A survivor of the war but these sounds hunted him as well as his traumatic experience and he lost his singing voice. This experience led him into exploration of the voice in a totally new way. A life changer for many of his students and a pioneer of the exploration of the phenomenal of the human voice and its expression. The stories of Wolfsohn and his followers Roy Hart and my work with Roy’s follower Nadine George are the inspiration for my interest in exploring the possibilities of the voice as a creative tool in devising theatre. ! When I started my research for theatre groups that were using the voice in a specific way devising theatre I came across names as The Roy Hart Theatre, Grotowski Institute, Odin Teater, Song of the Goat, Guy Dartnell, TeatrZar, and The Pan Theatre Paris, to name some.
    [Show full text]
  • 20Th-Century Repertory
    Mikrokosmos List 585. - 2 - April 2014 ....20TH-CENTURY REPERTORY 1 Absil, Jean: Piano Works (Impromptus, Esquisse, Les Echecs) - P.Stevens pno ALPHA DB 57 A 10 2 Adams, John: Grand Pianola Music/Reich: 8 Lines, Vermont Counterpoint - Solisti EMI EL 270291 A 12 New York, cond.& fl R.Wilson S 3 Amemiya, Yasukazu: Summer Prayer, Monochrome Sea/Morton Feldman: The RCA RVC 2154 A 12 King of Denmark - Y.Amemiya percussions (Japanese issue) (1977) S 4 Amy, Gilbert: Cahiers d'epigrammes/Boucourechliev: 6 Etudes d'apres HARMONIA M HMC 5172 A 25 piranese/Manoury: Cryptophonos/Xenakis: Mists - Helffer pno (gatefold) 1985 S 5 Andriessen, Hendrik: Philomela/Pijper: Halewijn/Sem Dresden: Francois 8 x RADIO NEDE RN 475 A 50 Villon/Badings: Martin Korda operas excs - cond.Otterloo, Eichmann, de Nobel 10" 6 Anhalt, Istvan: Foci (ms, instr ens), Cento (choir) - Mailing ms, cond.comp S CBC 357 A 10 7 Ansermet: 7 Chansons/Stravinsky: Chansons Plaisantes, Berceuse du chat/J.Binet: GALLO 30214 A 12 Chansons - Retchistzka, Huttenlocher, cond.Dunand S 8 Antheil: Vln Son (I.Baker vln, Yaltah Menuhin pno)/E.Goossens: Vln Sonata Op.21 MUSIC LIBR MLR. 7006 A 12 (Michaelian vln, V.L.Hagopian pno) (plain jacket) 9 Bakikhanov: 3 Sonatas for Vla & Pno - Aslanov, Abdullaev 1988 S MELODIYA C10 29869 A 15 10 Bardos, Lajos: Mass 1, 3; Motets, Hymns - cond.A.Vinczeffy (1989) (gatefold) S RADIUS HUN BP 137 A 12 11 Barraine, Elsa: L'Homme sur Terre, Premier Mai/Kosma, Joseph: Si nous mourons; REM 10899 A 10 Chanson pour les enfants l'hiver; Parade des Cocqueleux, Les Canuts
    [Show full text]
  • Demons That Resist Exorcism Second Generation Perspectives Barbara Dorrity P 15
    m "^ n Volume UII No. 10 October 1998 £3 (to non-members) Don't miss... Gombrich's blotting paper Refleaions on the deformed nationalism of parts of Europe Richard Grunberger P3 Carl Sternheim Dr Anthony GrenviHe p5 Demons that resist exorcism Second generation perspectives Barbara Dorrity p 15 ationalism is a force with a gut appeal long awaits canonisation - for his opposition to Tito's Russian underestimated by Liberals and Marxists atheist communism. N alike. However, not every manifestation of And in Brussels, the political heart of Europe, a enigma it was necessarily malignant. Flemish nationalist deputy has laid a Bill before the aifa When the French invented la patrie they also Belgian parliament to compensate erstwhile collabo­ century ago, Ls.sued a universal Declaration of the Rights of Man. rators for punishments meted out to them after HChurchill Italian unification was inspired by Mazzini's lib­ Liberation. In extenuation of their wartime conduct described Russia as eralism. In our own lifetime Catalans and Basques he conjures up a prewar spectre of Flemings as a riddle wrapped fought against Franco. .second-class citizens chafing under the misrule of a up in an enigma. Nonetheless, in the la.st war the Axis powers were French-speaking elite. The observation still immeasurably helped by the slights - real or imagi­ There may be a grain of truth in this - but to holds good today. nary - that had been inflicted on national groups in argue that exposure to relative discrimination justi­ An example is Eastern Europe. In consequence, Slovaks and Croats antisemitism which fied collaborating with occupiers who wiped out caused every third actively helped to effect the breakup of Czecho­ Belgian independence and practised total discrimi­ Jew to leave in the slovakia and Yugoslavia respectively.
    [Show full text]
  • 17-06-27 Full Stock List Drone
    DRONE RECORDS FULL STOCK LIST - JUNE 2017 (FALLEN) BLACK DEER Requiem (CD-EP, 2008, Latitudes GMT 0:15, €10.5) *AR (RICHARD SKELTON & AUTUMN RICHARDSON) Wolf Notes (LP, 2011, Type Records TYPE093V, €16.5) 1000SCHOEN Yoshiwara (do-CD, 2011, Nitkie label patch seven, €17) Amish Glamour (do-CD, 2012, Nitkie Records Patch ten, €17) 1000SCHOEN / AB INTRA Untitled (do-CD, 2014, Zoharum ZOHAR 070-2, €15.5) 15 DEGREES BELOW ZERO Under a Morphine Sky (CD, 2007, Force of Nature FON07, €8) Between Checks and Artillery. Between Work and Image (10inch, 2007, Angle Records A.R.10.03, €10) Morphine Dawn (maxi-CD, 2004, Crunch Pod CRUNCH 32, €7) 21 GRAMMS Water-Membrane (CD, 2012, Greytone grey009, €12) 23 SKIDOO Seven Songs (do-LP, 2012, LTM Publishing LTMLP 2528, €29.5) 2:13 PM Anus Dei (CD, 2012, 213Records 213cd07, €10) 2KILOS & MORE 9,21 (mCD-R, 2006, Taalem alm 37, €5) 8floors lower (CD, 2007, Jeans Records 04, €13) 3/4HADBEENELIMINATED Theology (CD, 2007, Soleilmoon Recordings SOL 148, €19.5) Oblivion (CD, 2010, Die Schachtel DSZeit11, €14) Speak to me (LP, 2016, Black Truffle BT023, €17.5) 300 BASSES Sei Ritornelli (CD, 2012, Potlatch P212, €15) 400 LONELY THINGS same (LP, 2003, Bronsonunlimited BRO 000 LP, €12) 5IVE Hesperus (CD, 2008, Tortuga TR-037, €16) 5UU'S Crisis in Clay (CD, 1997, ReR Megacorp ReR 5uu2, €14) Hunger's Teeth (CD, 1994, ReR Megacorp ReR 5uu1, €14) 7JK (SIEBEN & JOB KARMA) Anthems Flesh (CD, 2012, Redroom Records REDROOM 010 CD , €13) 87 CENTRAL Formation (CD, 2003, Staalplaat STCD 187, €8) @C 0° - 100° (CD, 2010, Monochrome
    [Show full text]
  • Giving Voice Bro 09 2
    International Festival of the Voice 2009 18 - 26 April, Wroclaw, Poland HARMONIC ACCORD: ENCOUNTERS THROUGH SONG SPOTKANIE W PIESNI´ 2 Giving Voice 11 stanowi specjaln edycję festiwalu; Giving Voice International Festival of the Voice współorganizuj go Center for Performance Research Contents z Walii oraz Instytut im. Jerzego Grotowskiego we Harmonic Accord Wrocławiu.Tegoroczny festiwal odbywa się w ramach Venues & Access - 2 obchodów Roku Grotowskiego 2009. Encounters through Song Przez 7 dni Wrocław będzie go´scił niespotykan ró˙znorodno´s´c tradycji Giving Voice 11: A festival of extraordinary voices from around the world including those from: Armenia, Austria, głosowych całego swiata:´ Armenii, Austrii, Korsyki, Gruzji, Gwinei, Iranu,Włoch, Harmonic Accord - 3 Corsica, Georgia, Guinea, Iran, Italy, Kurdistan, Mongolia, North America, Palestine, Poland, Kurdystanu, Mongolii, Ameryki Północnej, Palestyny, Polski, Sardynii, Serbii, Sardinia, Serbia, Spain, the Ukraine and Wales. Hiszpanii, Ukrainy oraz Walii. Calendar - 4 Poprzez dzielenie się ideami oraz praktyk w ramach ró˙znych warsztatów, How to Create Giving Voice springs from a strong events programmed for the Year of our questions embrace: aesthetics; pokazów i dyskusji, festiwal gromadzi praktyków, nauczycieli, teoretyków, belief in the voice’s ability to Grotowski 2009 in addition to this technique; the culturally specific; uzdrowicieli zainteresowanych prac z głosem, którzy niekoniecznie mieli Your Own Experience - 4 communicate beyond language and special edition of Giving Voice, matters of repertoire; archaism and the okazję do spotkania na drodze swej praktyki. Workshops - 5 - 14 cultural difference, and that working information of which may be found on relationship of tradition to innovation with the voice can allow people, from www.grotowski-institute.art.pl.
    [Show full text]
  • Love, Art Spiegelman's Maus and Orly Yadin's
    Opticon1826, Issue 9, Autumn 2010 MODES OF REPRESENTING THE HOLOCAUST: A DISCUSSION OF THE USE OF ANIMATION IN ART SPIEGELMAN’S MAUS AND ORLY YADIN AND SYLVIE BRINGAS’S SILENCE By Jessica Copley Abstract Since Theodor Adorno’s famous dictum that ‘to write poetry after Auschwitz is barbaric’, the issue of whether it is ethical to represent the Holocaust in art, and if so, the means by which it is ethical to do so, has constituted one of the major polemical discourses of our time. Prominent questions such as ‘Who has the right to try and represent the Holocaust?’, ‘How should we represent the Holocaust?’ and ‘How can we address the issue of responsibility in a post-war world?’ have motivated artistic representations and the critics who discuss these representations. In this essay, I aim to consider the success of two works which employ the somewhat controversial format of animation in dealing with aspects of testimony, trauma, language and responsibility. The first, Art Spiegelman’s 1984 comic book strip Maus, anthropomorphised Germans into cats and Jews into mice in order to narrate events experienced by Spiegelman’s father, Vladek, during the war and the postbellum father-son relationship. Although Maus was initially criticised for its use of the comic book format, traditionally viewed as adolescent, it later went on to receive the Pulitzer Prize for its literary success and as such provided a benchmark for the potential of animated formats. The second, Orly Yadin and Sylvie Bringas’s 1998 animated short film Silence, combines two styles of animation and a small amount of archival footage to tell the story of Tana Ross, a child survivor of Theresienstadt (Terezin) who, hidden by her grandmother during the war, escaped Auschwitz.
    [Show full text]
  • My Life with the Voice
    My Life with the Voice Introduction What I am setting out to do in this essay is to explain something of the history of my work with the voice and Shakespearean text over the last 40 years or more: from my introduction to the teachings of Roy Hart, through the creation of my own technique, to the development of this technique within Europe. I actually began working on the voice and classical text at the age of seven, with my school voice teacher, Miss Mitchell, and at seventeen I went to the Central School of Speech and Drama to train as an actress. (Cicely Berry was my voice teacher there). In 1962, while I was at Central, I was introduced by Paul Silber to a man called Roy Hart, who was doing research work on the human voice. Roy was a white South African who had won a Scholarship to RADA in the 1940s, and had gone on to become a psychologist and an actor. During his time at RADA, Roy had met Alfred Wolfsohn, a singing teacher who had developed his own approach to work on the human voice. Alfred Wolfsohn and Roy Hart Alfred Wolfsohn was a German Jew who, at 18 years old, fought in the First World War. After the war he was broken in body and soul by his experiences, like so many young men at the time. What Wolfsohn remembered most were the cries of the dying soldiers, and he asked himself how could there be such life in the voice of someone who is dying.
    [Show full text]
  • Pervasive Media and Eudaimonia Transdisciplinary Research By
    Pervasive Media and Eudaimonia Transdisciplinary Research by Practice Jacqueline Anne Calderwood Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy Awarded by De Montfort University September 2017 Table of Contents 2 Table of Contents Table of Contents 2 Table of Figures 10 Table of Tables 17 Abstract 18 Dedication 20 Acknowledgements 21 Chapter 1: Opening 26 1.1 Research Question 27 1.2 Opening 29 1.3 Aim and Objectives 29 1.31 Aim/Problem 29 1.32 Objectives 30 1.33 Area of Research 30 1.4 Brief Summary of How I Have Addressed my Aim and Objectives 31 1.41 Brief Overview of Approach 31 1.411 Approach to Writing 32 1.412 Introductory Mention: Transdisciplinarity 33 1.413 Introductory Mention: Eudaimonia 34 1.414 Introductory Mention: Symmathesy 35 1.415 Introductory Mention: Anthroposensory Sculpture 36 Jacqueline Anne Calderwood Pervasive Media and Eudaimonia Table of Contents 3 1.416 Introductory Mention: Clean 37 1.42 Brief Overview of Practice 39 1.421 Evidence of Practice: Portfolio and Appendices 40 1.422 Introduction to Soundlines 41 1.423 Introduction to Experimental Walks 45 1.424 Introduction to Colour Grids and the Colour Grid Methodology 50 1.425 Introduction to Hunter Gatherer 54 1.426 Introduction to Living Voices 57 1.427 Introduction to Clean Research Interviews 60 1.5 Contribution of New Knowledge 62 1.51 Beneficiaries of This Research 63 1.6 Overview of Chapters 65 Chapter 2: Location 66 2.1 Invitation 67 2.2 The Meeting Point 67 2.3 Technologies 76 2.31 Stochastic Tinkering:
    [Show full text]